Tuesday, 5 March 2019

US Supreme Court: Copyright Registration Occurs When Copyright Office Registers Copyright


It is not often that the US Supreme Court hands down a copyright-related decision, an unanimous one to boot, and so yesterday was quite a day for US copyright owners and IP practitioners.

The US Copyright Act, 17 U.S.C. § 411(a), states that “registration" of a copyright is a precondition to filing suit for copyright infringement.  Some courts of appeal interpreted “registration” as meaning “filing an application to register the copyright” while others interpreted it as “the Register of Copyrights registers the copyright.”
On March 4, 2019, the US Supreme Court resolved the circuit courts split and ruled that registration occurs when the Copyright Office registers the copyright.  Only after that may a plaintiff file a copyright infringement suit. However, once the copyright is registered, the owner can recover for infringement which occurred both before and after the registration.

The case is Fourth Estate Public Benefit Corp. v. Wall Street LLC.

Justice Ginzburg, who wrote the opinion, noted that registration is not necessary to obtain copyright protection under §408(a) of the Copyright Act.

Justice Ginsburg then wrote about the statutory exemptions to registration before filing suit, such as §408(f)(2) of the Copyright Act, which provides limited circumstances where copyright owners can file an infringement suit before registration. This section was enacted to protect the owners of works having a history of infringement prior to authorized commercial distribution, such as movies or musical compositions. They can file a preregistration no later than 3 months after the first publication.  

Justice Ginzburg wrote that Section 408(f)’s preregistration option, too, “would have little utility if a completed application constituted registration” and that a “copyright owner who fears prepublication infringement would have no reason to apply for preregistration if she could instead simply complete an application for registration and immediately commence an infringement suit. “

§411(c) of the Copyright Act provides the owner of a work which is fixed and broadcasted simultaneously the right to file a copyright infringement suit either before or after the work has been thus fixed.

The Court reasoned that “[i]f application alone sufficed to “ma[ke]” registration, §411(a)’s second sentence—allowing suit upon refusal of registration—would be superfluous.” It states that:

In any case, however, where the deposit, application, and fee required for registration have been delivered to the Copyright Office in proper form and registration has been refused, the applicant is entitled to institute a civil action for infringement if notice thereof, with a copy of the complaint, is served on the Register of Copyrights.”

The Court also found the final sentence of §411(a) to be persuasive as it requires the Register to act before a copyright infringement suit can be filed if the work is not registered: it allows the Register to “become a party to the action with respect to the issue of registrability of the copyright claim.”  Justice Ginsburg wrote that “[t]his allowance would be negated, and the court conducting an infringement suit would lack the benefit of the Register’s assessment, if an infringement suit could be filed and resolved before the Register acted on an application.”

The Petitioner had argued that a copyright owner may not be able to enforce her rights if the Copyright Act’s three-year statute of limitations runs out before the Copyright Office acts on her application for registration. Justice Ginzburg wrote that such “fear is overstated, as the average processing time for registration applications is currently seven months, leaving ample time to sue after the Register’s decision, even for infringement that began before submission of an application. See U. S. Copyright Office, Registration Processing Times (Oct. 2, 2018).

This case is likely to stimulate a flurry of copyright registrations, which in turn, may slow down the copyright registration process.

Image is courtesy of Flickr user Tony Webster under a CC BY 2.0 license.

Monday, 4 March 2019

THE COPYKAT


A Grand Theft Auto V 'cheat maker' has been ordered to pay $150,000 in copyright damages: Rockstar Games' parent company Take-Two Interactive has won a default judgment against the developer of the GTA V cheat maker "Elusive". The Florida-based defendant has been ordered to pay the defendant company $150,000 - the maximum that could be awarded as copyright infringement damages. Take-Two Interactive Software, the company behind ‘Grand Theft Auto V’ (GTA V) has filed several lawsuits in the US and abroad, targeting alleged cheat software. It was last August the company filed a case against Jhonny Perez, accusing him of copyright infringement by creating and distributing a cheating tool. Elusive could be used to cheat and allegedly interfere with other game players. With the defendant apparently ignoring offers of a setlement, Take-Two filed for a default judgment. Take Two say that the software represents both direct and contributory copyright infringement. “Take-Two has been irreparably harmed by Mr. Perez’s infringing conduct and will continue to be harmed unless enjoined” US District Court Judge Kevin Castel wrote, adding “Mr. Perez’s Elusive program creates new features and elements in Grand Theft Auto which can be used to harm legitimate players, causing Take-Two to lose control over its carefully balanced plan for how its video game is designed to be played,” he writes. In addition, the Judge noted that the cheat discouraged users from future purchases and gameplay and that the unlimited currency cheat undermined Take-Two’s pricing and sales of legitimate virtual currency and found the cheat maker guilty of both wilful direct and wilful contributory copyright infringement, as well as breaching Take-Two’s user agreement. The Court ordered Perez to may the maximumstatutory damages of $150,000 and an additional $66,868 in attorney’s fees. 

The US Olympic Committee  (USOC) is being sued copyright infringement. Kevin Downs, a professional photographer, has filed his lawsuit against against the USOC in the U.S. District Court for the District of Colorado, alleging that a photo he captured at an outside table tennis match in New York City has been used without his permission. The photo, attached to Downs’ Complaint as an exhibit, was previously registered by Downs with the U.S. Copyright Office. Downs complains that the USOC ran an article on the TeamUSA.org website featuring the copyrighted photo without Downs’ consentbut with a credit that reads, “Daily News/Kevin C. Downs.” Does that give USOC the right to republish the image: it is a sign of good faith? But what is the right to good faith in the US? Whilst Downs may have missed out on a potential licensing fee in this case, the image does not seem to be so important for the purpose of the article that it was a necessary element that the publisher benefited from to any great extent. Downs’ photograph was a public work that was used as part of an article that disseminated facts and information to benefit the public. The article was informing the public that the streets in Midtown New York City were car-free in order to provide for outdoor festivities, including ping pong. The picture demonstrates the performance of ping pong on the streets. While Downs may have a perfectly viable copyright on his photograph, it does not necessarily mean he has the best case against the USOC in this instance - does it?

 A Las Vegas artist has accused pop star Ariana Grande of using imagery from his paintings, without his permission, in the singer's "God is a Woman" music video. The artist, Vladimir Kush, filed a federal lawsuit forcopyright infringement in Nevada. In the lawsuit, Kush asserts Grande's imagery in her music video was "nearly identical" to his paintings and the minor differences Grande has made "does not change the viewers' impression." The scene in Grande's music video that Kush has claimed copyright for depicts the singer as a candle wick while a bright flame surrounds her. Light from the candle flame radiates out against a blue, cloudy sky. The scene appears a little over a minute into the music video. Both of Kush's paintings, "The Candle" and "The Candle 2," portray a woman's silhouette as the wick of a large candle. Kush obtained copyright for the paintings in 1999 and 2000 and according to the lawsuit. "While there are many ways to depict a woman dancing in the wick of a candle – even with a heavenly background – Defendants clearly copied Mr. Kush’s expression of this idea," the lawsuit said. Kush's attorneys said in the lawsuit the video director and production team for "God is a Woman" have faced at least two previous copyright infringement lawsuits from other artists. The lawsuit has asked that Grande remove the video from the Internet. Kush was also seeking damages and attorney's fees.

A 70-year-old UDS man accused of downloading the Hitman movie through torrent not only denied the charges but he then took legal action to fight back. Perhaps unsurprisingly, the plaintiffs dropped the case, and the court dismissed it, BUT the court promised to re-evaluate the way it handles such cases. Whilst the defendant and his lawyer were disheartened with the dismissal, is there still a chance to push things further?

Kodak is in the photography news - but for all the wrong reasons: Kodak launched an on-demand photography service called Kodakit back in January 2017 that aims to connect photographers to brands looking for photography. But there’s something all photographers need to know about this “Uber of photography,” as it’s been called: it demands that the snapper signs over the “entire copyright” to the photos they shoot. - they even need permission to use them for their own portfolios!

Wild Wild Country directors Chapman and Maclain Way, Duplass Brothers Productions, and Netflix have been sued by the Osho International Foundation, a group that promotes the teachings of the documentary’s subject, controversial Indian guru Bhagwan Shree Rajneesh (aka Osho). Osho International claims a number of their copyrighted videos were used without permission. Filmmaker Michael Hilow, another plaintiff in the lawsuit, says footage from his 1993 documentary Rajneeshpuram an Experiment to Provoke God was also used without his permission. Osho is described in the complaint as a Swiss company that publishes, licenses and archives the work of Bhagwan Shree Rajneesh, the controversial guru at the centre of the Netflix series. Hilow directed a 1993 documentary Rajneeshpuram an Experiment to Provoke God. It seems scenes from that film, along with three works controlled by Osho International, are shown in Wild Wild Country and it is alleged that the first episode alone contains 88 separate "instances of appropriation," totaling more than 12 minutes. Wild Wild Country tells tells the story of a controversial guru who builds a utopian city in the Oregon desert, it causes a massive conflict with local ranchers. Osho International and Hilow are asking the court to grant an injunction barring Netflix from further infringing their copyrights and are seeking damages and disgorgement of the streamer's profits. It is asking the court to grant an injunction “permanently restraining and enjoining [Netflix], their officers, agents [sic] employees, and attorneys, and all those persons or entities in active concert or participation with them, or any of them, from further infringing” the foundation’s copyrighted works.” The company is seeking damages and disgorgement of Netflix’s profits. Its suit is just the latest alleged charge of copyright infringement to hit the streaming service in recent months.

Has a UK company copyrighted Kenya’s national anthem? A YouTuber has reignited discussion on the Kenya national anthem’s ownership rights after revealing how a UK based company has claimed copyright. De Wolfe has published an orchestral arrangement of Kenya’s national anthem that it states was created in 1990. Kenya Copyright Board (Kecobo) has responded, explaining  that Kenya’s national anthem had copyright that lasted for 50 years. This lapsed in 2013. Further, the Copyright Act has not been amended clarify the right to juse the work -  but that the use of such works IS subject to authorization as required under the National Flags, Emblems and Names Act. “Kecobo is at the moment studying the terms and conditions in YouTube platform with a view of requesting for a take-down of all content offending the National Anthem by the said Company and others as well,” the board added.

“Agreementreached on copyright" ! Europeans will finally have modern copyright rules fit for digital age with real benefits for everyone: guaranteed rights for users, fair remuneration for creators, clarity of rules for platforms” EU digital chief Andrus Ansip has said in a tweet - although not everyone agrees! 


Under the planned new rules, Google and other online platforms may well have to engage with rights holders to use their work online, and Google's YouTube and Facebook’s Instagram and other sharing platforms will be required to install upload filters to prevent users from uploading copyrighted materials.Google, which has lobbied intensively against the planned legislation has said it may pull Google News from operating in Europe, but said it would study the text before deciding on its next steps. “Copyright reform needs to benefit everyone - including European creators and consumers, small publishers and platforms ... The details will matter,” the company said in a tweet. Spain and Germany had in recent years tried to force Google to pay publishers for taking snippets of their news articles, but that backfired after Google News pulled out from Spain and traffic of German publisher Axel Springer plunged after it sought to block the search engine. EU lawmaker Axel Voss said it was time internet giants pay their dues to rights holders: “This deal is an important step toward correcting a situation which has allowed a few companies to earn huge sums of money without properly remunerating the thousands of creatives and journalists whose work they depend on,” he said. However, MEP Julia Reda from the Pirate Party again voiced concerns, saying that algorithms in upload filters cannot tell the difference between copyright infringements and legal parodies. “Requiring platforms to use upload filters would not just lead to more frequent blocking of legal uploads, it would also make life difficult for smaller platforms that cannot afford filtering software,” she said. Online platforms in existence for less than three years and with less than 10 million euros in revenue and fewer than 5 million monthly users are exempted from installing upload filter. Nonprofit bodies, online encyclopedias such as Wikipedia, and open source software platforms such as GitHub will be able to use potentially valuable data for research and educational purposes without being subjected to the copyright rules. “It will become much harder for users to share their own, non-commercial music, video or photo creations online. This reform is not based on the reality of how people use the internet,” its deputy director general, Ursula Pachl, said. The agreement needs approval from the European Parliament and EU countries before it can become law. The European Parliament's legal affairs committee has voted through the final draft of the European Copyright Directive, with sixteen votes in favour and nine against. The JURI committee was expected to  back the final draft of the copyright reforms, which now face a vote the full Parliament - and whilst this is expected to be a formality, it is still not guaranteed to pass the draft Directive.
With many thanks to  Akshat Agrawal for all of his work on this CopyKat

Saturday, 2 March 2019

Basquiat, Sakura, Verda


French television channel France 24 is reporting that Sakura art gallery in Paris has cancelled a Guillaume Verda exhibit after he was accused on social media of copying Jean-Michel Basquiat. The gallery did not cancel because of the alleged copying, but cited public safety concerns, stating that the artist had received threats on social media and by email.

Guillaume Verda has since made his Instagram account private, and the Sakura gallery has taken off any references to the exhibition from its site and closed the exhibition.

Is it copyright infringement?

Article L.122-4 of the French Intellectual Property Code states that “Any complete or partial performance or reproduction made without the consent of the author or of his successors in title or assigns shall be unlawful. The same shall apply to translation, adaptation or transformation, arrangement or reproduction by any technique or process whatsoever.” Several tweets presented Verda’s works next to Basquiat’s. Copying or inspiration?

When assessing whether a particular work is infringing, courts first check if the work which was allegedly copied is composed of new and original elements and then determine if these original elements have been reproduced by the second work.

Verda’s works seems to have been painted in a way which certainly brings the Basquiat in mind. So there are similarities.

Ideas are not protected by French law: les idées sont de libre parcours, ideas are free to be used. A work must be original to be protected. It could also be argued that both Basquiat and Verda were inspired by ancient African art which is now in the public domain, and that the similarities are based on elements which are not original.

But if the similarities are on original elements of the first work, there is infringement.

If the similarities are obvious, bad faith is assumed, and then it is the Defendant who must prove he was in good faith. In this particular case, Verda did not seem to have hidden that Basquiat was a source of inspiration, as he referenced him in hashtags. So, he cannot claim that he did not know his works, and that the similarities are fortuitous, that this is a “rencontre fortuite,” which happens when two artists are creating a similar work without knowing each other. It may happen, but it is quite rare.

It is only after having assessed the similarities between the two works that the courts assess their differences. Here would lie Verda’s defense, proving the differences between the works.

It should be noted that copyright infringement and plagiarism do not have the same meaning under French law. While the first is a crime, the second, le plagiat, is a tort. The author of a work can decide not to sue for copyright infringement, but for plagiat, in a civil court, which will then assess whether the alleged plagiarism constitutes unfair competition and parasitism.  

1709 Blog welcomes Ken Moon as new team member

Ken Moon
The1709 Blog is delighted to welcome Ken Moon as a new member of the team. 

Ken is a former partner and now consultant to AJ Park Law, practising in their Auckland office.  He initially graduated in electrical engineering and had experience in electronics, communications and engineering programming working with the New Zealand Broadcasting Corporation. He then embarked on a legal career with AJ Park while obtaining his law degree part time. 
As an IP lawyer he specialises in copyright law and as a technology lawyer specialises in software and internet law in general, but including of course digital copyright.   
His litigation practice has included New Zealand’s first software copyright trial in 1989 (IBM v Computer Imports) and the first and only case for non-literal software copyright infringement (Fisher & Paykel Finance v Karum) which concluded in the Court of Appeal in 2014.
We look forward to reading Ken's contributions! 

Wednesday, 27 February 2019

Kim Kardashian Sues U.K. Online Retailer Claiming Violation of Right of Publicity


Kim Kardashian is suing U.K. fast fashion online retailer Missguided and its U.S. subsidiary for trademark infringement and violation of her right of publicity. The case is Kimsaprincess, Inc.; and Kim Kardashian West v. Missguided USA (Finance) Inc., and Missguided Limited, 2:19-cv-01258 (C.D.Cal).
The complaint alleges that the inexpensive and fast fashion retailer is using Kim Kardashian’s likeness on its site and on its Instagram account to sell clothes. The pages on the site referring to the petite celebrity are no longer available, but the complaint shows a page entirely dedicated to the Kardashians, including a page named “crushin’on kim k,” featuring several photographs of Kim Kardashian, and another page named “5 party looks inspired by the kardashians” featuring Plaintiffs and several of her sisters.

The complaint states that Kim Kardashian commands a fee of several hundred thousand dollars for a social media post, while “longer-term endorsement arrangements regularly garner fees in the millions of dollars.” 120 million people follow her on Instagram, and a little less than 60 million do so on Twitter. The celebrity owns also several trademarks protecting cosmetic and fragrance products.

Kim Kardashian posted this month on her Instagram account a picture of herself wearing a golden dress, writing in the caption “P.S. fast fashion brands, can you please wait until I wear this in real life before you knock it off?” Missguided answered to this post on its own Instagram account with a picture of a model wearing a similar dress with the caption “The devil works hard but Missguided works harder. @kimkardashian you’ve got only a few days before this drops online.”

This particular post raised the attention of Diet Prada, a site dedicated to fashion copycats. It posted that this exchange may well be the fruit of a collaboration between the celebrity and the retailer without revealing the endorsement, adding that “The lack of transparency around celebrity endorsements is a big problem facing social media. We think we smell a rat.”

This is of course a reference to the Federal Trade Commission rules on social media endorsements, under which an endorsement must be disclosed, so as not to be deceptive advertising.

A few days later, Diet Prada again shared in a post that Kim Kardashian may very well have a secret collaboration with yet another fast fashion retailer, Fashion Nova, as it put a sale a copy of a Thierry Mugler vintage dress shortly after Kim Kardashian wore it to an awards soirée.

The complaint may be an answer to these allegations. It explains that Kim Kardashian selectively chooses which products or services she endorses, and as such controls the use of her likeness and trademarks.

The complaint claims that Missguided has breached California’s right of publicity law, Cal. Civ. Code § 3344 and California’s common law right of publicity when it “willfully and without authorization used Kardashian’s name, image, likeness, and persona for commercial purposes, to advertise the Missguided brand and website, and to promote the sale of clothing on Missguided’s site.”

There is no right of publicity federal law, and so each state, except Alaska, Idaho, Iowa, Kansas, North Dakota, Wyoming, and Delaware have their own law. Some states have a statutory right of publicity, sometimes have a common law right of publicity, some states, such as California, have both.

The California statutory law protects use of a person’s name, voice, signature, photograph and likeness for purposes of advertising or selling, or soliciting purchases of products, merchandise, goods or services, without this person’s prior consent. The complaint claims that Missguided used Plaintiff’s likeness to sell clothes, on its site, and on Instagram, as it often features on its social media posts links to buy clothes on its site.

Plaintiff is asking compensatory and treble damages in an amount to be proven, but in no event less than $10 million. That would buy a lot of dresses, whether vintage or knock-offs. 
Image is courtesy of Flickr user arcticpenguin under a  CC BY-NC 2.0 license


Tuesday, 26 February 2019

A reaffirmation of the law regarding originality for copyright protection under US law

Jade McKellar
For a work to be protected by copyright, a modicum of originality is required. But would a blank form with some text be sufficiently original?

1709 Blog friend Jade McKellar (University of Southampton) discusses a recent decision of the Review Board of the US Copyright Office which confirmed that the answer is ... no.

Over to Jade:

"The United States Copyright Office Review Board affirmed the refusal the register to register a copyright claim to text in the work “Online California DMV Vehicle Registration” on the basis of insufficient creativity.

Some key principles considered by the Review Board relate to:

  • Distinction between ideas and expression: Section 102(b) Copyright Act 1976 excludes protection for “any idea, procedure, process, system, method of operation, concept, principle, or discovery, regardless of the form in which it is described, explained, illustrated, or embodied in such work” and thus codifies the distinction originated in Baker v Selden, 101 U.S. 99 (1879) between ideas and expression in respect of copyright protection. Copyright protection is available for the expression of ideas, not for the underlying ideas themselves. 
  • Merger doctrine (Baker v Selden): where there is one way, or a limited number of ways for an author to convey an idea, the author’s expression cannot be protected under copyright as it would prevent others from using that idea in other works. 
On the basis of these principles the United States Copyright Office has a presumption against the registration of blank forms. The Office’s Regulations preclude registration of “blank forms […] which are designed for recording information and do not in themselves convey information”.

The Copyright Office will examine a work of this type to determine if it contains “an appreciable amount of written or artistic expression” that can be separated from the work’s method of capturing information.

  • Originality: A work is registrable it is an “original work of authorship fixed in any tangible medium of expression” 17 USC 102(a). For a work to be “original” it must be an independent creation of the author and contain sufficient creativity (Feist Publications Inc v Rural Tel. Serv. Co, 499 U.S. 340 (1991)). Only a modicum, or more than de minimis, quantum of creativity is necessary. There can be no copyright in a work where “the creative speak is utterly lacking or so trivial as to be virtually non-existent”. A mere simplistic arrangement of non-protectable elements does not demonstrate a sufficient level of creativity for protection (Coach Inc. v Peters, 386 F. Supp. 2d 495 (S.D.N.Y. 2005); Satava v Lowry, 323 F. 3d 805 (9th Cir. 2003)). A combination of non-protectable elements will only be eligible for copyright protection in instances where those elements are numerous enough and their selection and arrangement is original enough to constitute an original work of authorship. 
Background

Cartagz filed an application to register a copyright claim in ‘text, arrangement and layout of text’. This claim was later limited to ‘text’. The work for which registration was sought is represented below:


The United States Copyright Office refused to register the claim on the basis that blank forms and similar works are not protected by copyright. Cartagz requested that the office reconsider its refusal to register. The Office re-evaluated the claims in the First Request and reaffirmed its decision not to register the claim on the basis that the work did not contain sufficient originality or creative authorship. 

Cartagz requested pursuant to 37 CFR 202.5(c) that the Office reconsider its refusal a second time, on the basis that the Office had applied a higher creativity standard than warranted by copyright law, that following Harcourt, Brace & World Inc. v Graphic Controls Corp 329 F. Supp. 517 (S.D.N.Y. 1971). Blank forms have been registrable where they exhibit more than a de minimis amount of creativity, and that the work contains sufficient creativity to obtain copyright protection.

Analysis

The Review Board examined the work in light of the legal standards discussed. The work is a blank form designed to allow the user to record information. Under section 102(b) of the Copyright Act and the merger doctrine, blank forms are not typically subject to copyright protection unless they are shown to contain an appreciable amount of written or artistic expression distinct from the underlying method for recording information.

The Board considered whether the work contains such distinct written or artistic expression to warrant registration: 
  • The work’s constituent elements were merely ‘words and shorts phrases, and, as such, are not copyrightable’ (37 CFR 202.1(a)).
  • The work as a whole is not sufficiently creative to support registration. Works made by public domain elements may be copyrightable if the selection, arrangement and modification of the elements reflects choice and authorial discretion that is not so minor that “the creative spark is utterly lacking or so trivial as to be non-existent”. Cartagz’s work consists of very few elements, most of which are necessary incidents to allow users to record information, and thus the aggregation of words and phrases in the work lacks sufficient creativity to warrant registration. 
Cartagz’s claim was limited to “text”. However, Cartagz additionally asserted that it intended to maintain a claim in “the selection, coordination, and arrangement of the specific textual and graphical content of the Advertisement as a compilation, which it believed would still be covered by its claim in ‘text.’”.

The Board noted that Cartagz did not register a claim in compilation in the initial application. However, the Board found that even if the compilation rubric were applied in examination of the work, sufficient creative compilation authorship to support registration could not be found. The work does not contain a sufficient amount of creative authorship in respect of the selection, coordination, and arrangements of the work’s constituent elements to warrant copyright protection.

The United States Copyright Office Review Board found that the work, comprising a minimal combination of words and short phrases, lacked the ‘modicum of creativity’ requirement expounded in Feist.

Significance

This decision has reaffirmed the distinction between protectable original expression of ideas and unprotectable underlying ideas in respect of copyright protection, and the criteria for original authorship and creativity. The Copyright Office followed its longstanding presumption against the registration of blank forms on the basis of these principles, and also confirmed the requirement for an above de minimis quantum of creativity in the assessment of the originality of a work.

Monday, 25 February 2019

Vignelli Estate Claims Former Employee Had No Right to Publish Book about Famous Designer


The estate of Lella and Massimo Vignelli, represented by their daughter Valentina Vignelli, and Vignelli Designs, which hold the intellectual property rights in the Vignellis’designs, have filed a copyright and trademark infringement suit in the Southern District of New York against publishers Rizzoli and Mondadori, and Beatriz Cifuentes, a former employee of the Vignellis.

The case is The Estate of Massimo and Elena Vignelli et al v. Rizzoli International Publications, Inc. et al, No 1:19-cv-01584.

Defendants are the publishers and the author of a book published last October, which allegedly used without permission 102 original sketches made by Massimo Vignelli and misrepresented that the book was co-designed by Massimo Vignelli and is endorsed by the Vignelli Estate.

Lella and Massimo Vignelli

Lella and Massimo Vignelli’s designs are known by New York subway riders as the couple designed the now iconic subway signage. The map designed in 1972 is no longer in use, as many riders complained it was difficult to understand, but the train numbers of the lines are still in use. The Vignellis also designed Bloomingdale’s logo and its brown paper shopping bag. Some of their works are part of the MoMA collections.  

They worked together in New York until Massimo Vignelli’s death in 2014. Lella Vignelli died two years later. Their estate is now handling their intellectual property rights.

The 1990 book

Massimo Vignelli often designed books and even wrote a book about the topic, “The Vignelli Cannon.” In 1990, he designed a book published by Rizzoli, “design:Vignelli” and also designed the logo on the cover. Plaintiff claims that this logo “became the distinctive trade dress of the VIGNELLI brand.” In any case, Massimo Vignelli retained the intellectual property rights in it.

The book is registered with the U.S. Copyright Office as a compilation of the texts and photos and contains testimonies about the Vignellis’ work from various writers and photographers. These contributors retained their own rights.

The 2018 book

Beatriz Cifuentes joined Vignelli Associates in 2004 and worked there as a graphic designer. After Lella Vignelli died, and according to the couple’s wishes, the Vignellis’ professional artifacts and a portion of their personal artifacts were sent to the Vignelli Archives.

According to the complaint, the Vignellis’ children found out at that time that Beatriz Cifuentes had kept personal property belonging to Massimo Vignelli that needed to be returned to the Vignelli Archive, including some sketches, which had not yet been published, but which were published in the 2018 book.

Beatriz Cifuentes wrote in the introduction to the 2018 book “on his death bed, Massimo [Vignelli] made [her] promise [she] would finish the book.” However, according to the Complaint, Massimo Vignelli’s will does have a provision about the book.

The copyright infringement claims

The Complaint alleges that permission was not sought to use material for this book, and that Defendants had denied their requests to remove Massimo Vignelli’s name from the design credit, to include an “erratum slip” and to make sure that the press releases and promotional material were corrected.

It also alleges that Defendants reproduced without permission works authored by Massimo Vignelli, and also reproduced essays and photographs of third parties without their permission [these third parties are not parties to this suit, at least not yet. This is a classic copyright infringement claim.

The 1990 book is registered as a compilation, which are protectable by copyright. The Copyright Act defines them as being “formed by the collection and assembling of preexisting materials or of data that are selected, coordinated, or arranged in such a way that the resulting work as a whole constitutes an original work of authorship.” However, as explained by the Copyright Office in 2012, such compilation must result in one or more of the congressionally-established categories of authorship to be registered.  This is the case here, as the book is a literary work and also features graphic works.

Plaintiffs also allege that “Defendants prepared a compilation using unpublished works of Massimo Vignelli that were obtained without Plaintiffs’ authorization and then published by Defendants for the first time with the release of the 2018 Book on October 23, 2018.”

Unpublished works can be protected by copyright. Nevertheless, it is the author who has the exclusive right to publicly display the work. Beatriz Cifuentes claims that Massimo Vignelli wanted her to publish his works. This will be important to prove as a defense to the suit. Defendants could still claim fair use, whether permission to publish was granted or not. However, the Supreme Court explained in 1985 that the courts are less likely to find fair use if the work was unpublished, Harper & Row Publishers, Inc. v. Nation Enters. As a reminder, U.S. copyright law provides a very limited moral right to visual artists. Italian law, however, provides such rights, and it will be interesting to see if Plaintiffs will try to access it.

Plaintiffs are asking the court, inter alia, to permanently enjoin Defendants from further copying, marketing, publishing, selling, making derivative works, or otherwise commercially exploiting the works and the 2018 book.

The Defendants may now choose to defend themselves in court, or to settle.



Photo is courtesy of Flickr user Jonathan Wilsson under a CC BY-NC 2.0 license.