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BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 [email protected]

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Page 1: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES

July 21, 2008

Christina Ezell, Esq.

615-775-7521

[email protected]

Page 2: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Agenda

What is Intellectual Property?

Copyrights

Trademarks

Patents

Trade Secrets

Conclusion

Page 3: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

What is Intellectual Property?

A property right is generally a right to exclude

“Intellectual Property” (IP) is generally a right to exclude others from making, using or selling intangible property created by the mind

Page 4: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

What is Intellectual Property?

Exhaustion of RightsOnce an IP holder has sold a physical

product with IP rights attached, it cannot prohibit subsequent resale

Used books at bookstoreToasters at a garage sale

Page 5: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

What is Intellectual Property?

Public DomainMost IP rights have limited duration

Patents-20 years from date of filing Copyrights-life of author plus 70 years Trademarks requires continued use in

commerce

Page 6: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

What is Intellectual Property?

TerritorialityNo global copyright, patent or trademarkModest number of international agreementsBerne Convention (copyrights)Paris Convention (patent and trademark)World Trade Organization-Trade Related

Aspects of Intelletual Property (TRIPS)

Page 7: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Copyrights

Introduction

Limits to Copyrights

Registration Process

Whether to Register

Works for hire

Selling and licensing rights

Avoiding copyright infringement

Q ’s to consider in making transfers

The need for counsel

Page 8: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Introduction

Original creative expressions are copyrightable Copyright protects form, not content Mere collections of facts without “some minimal

level of creativity” are not copyrightable Work must be fixed (tangible means of

expression) Ex. Sculpture in a block of ice

Page 9: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Introduction

Categories of protectable worksLiterary

Fact, fiction, prose and poetryComputer programs

Source codeMusical Works

Can be derivative--think of different arrangements of Mozart

Page 10: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Introduction

Categories of protectable worksDramatic works

Works as a whole, not just individual scenes or jokes

General plot denied under idea/expression Pantomime and Choreographic Works

Still must be fixed Ex. Motion picture, special choreographic notation

Page 11: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Introduction

Categories of protectable works Pictoral, Graphic and Sculptural works

Maps Selection of materials included, not the actual names of

places

Motion Pictures and other Audiovisual Works Series of related images

Sound recordings Singers bring their own style

Page 12: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Introduction

Categories of protectable works Architectural works

Buildings Blueprints Drawings

Derivative works Must still be original Must be based on public domain or get permission from

original copyright owner of underlying work

Page 13: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Introduction

Categories of protectable worksCompilations

Arrangement important

Page 14: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Limits to Copyright

Fair UsePartial or limited reproduction of another’s

work may be permitted under the Fair Use Doctrine and are considered in light of the following factors Purpose and character of the use Nature of the copyrighted work Amount and substantiality of the portion used Effect on the market for the original work

Page 15: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Limits to Copyright

Expressions, not ideas, are protectedEx. The author of a book has protection for

her words, but not for the basic plotEx. Photographer has protection from

duplication of his picture of a sunset, but not from other people taking pictures of a sunset or the same sunset

Page 16: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Limits to Copyright

Utilitarian, three-dimensional works are excluded Ex. Drawing of a microwave is copyrightable, but the

microwave itself would be protected by a design or utility patent

But--to the extent these works have parts that serve no purpose but for aesthetics, copyright might be available for those parts

Ex. A vase with an extensive aesthetic design on the side, the aesthetic design might be copyrightable, only way to find out is to try and register them--if denied a design patent option may be available

Page 17: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Limits to Copyright

Independent CreationA second work, identical to an earlier

copyrighted work does not infringe if it independently created

Obviously the better known the first work, the less likely that independent creation defense will be believed

Page 18: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Three level of Protection

Level 1: Copyrighted Copyrightable works are copyrighted as soon as they are

fixed in tangible form. Your copyright exists immediately without registering the work, putting a copyright notice on it, or doing anything special

Level 2: Notice You can immediately put a copyright notice on any new

work without a copyright registration. (1) notice of copyright; (2) year first published; and (3)

claimant’s name. Ex. ©2006-2008, Christina Ezell

Page 19: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Three levels of Protection

Level 3: Registration Registration is needed before suing an

infringer. Registration within three months of first publication or before the infringer begins copying is need to recover attorney’s fees and statutory damages (up to $150,000 per each “infringement”)

Page 20: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Why register?

Notice eliminates a defense of a copier Some nations require it and a few even require

“all rights reserved” If the text does not interfere with the artistic

integrity, always best to put a notice into published copies

Notice should automatically secure protection in most other countries under international treaties

Page 21: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Registration Process

Straight forward and inexpensive Forms with instructions can be obtained from the

Copyright Office Return form with $45 fee and copy of the protected

work Deposit copies not required for works of visual art,

but does require a submission of identifying material (ex. Photograph of sculpture)

Page 22: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Should I register?

Some publishers prefer that works not be registered prior to publication

While registration costs little, expenses can grow quickly when each item is inexpensive, runs are short, several items must be registered separately

Registration is only needed after infringement occurs, question becomes whether the remedies gained by registration are worth it?

Page 23: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

“Works for Hire”

Employed Artists Copyrights of regular employees are presumed to be owned by

their employers unless there is an agreement to the contrary Important to note: must be within an employee’s scope of

employment

Free-Lance Artists Ordinarily presumed to own copyright in their work Exception!! A party commissioning work could say that it is “for

hire”, especially if it contributes to a larger work Important to note: the fact that is it work for hire must be in

writing and the work must fall under “work made for hire” in Section 101 of the copyright statute

Page 24: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Issues in Work for Hire

Ownership If the copyright in a work for hire is owned by the

commissioner, the artists has no rights--so a similarly created later work EVEN if by the SAME ARTIST will infringe

Freelance artists should consider carefully what they may be giving up to allow a commissioned work to be regarded as a work for hire

Page 25: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Issues in Work for Hire

Term of copyrightWorks for hire, the shorter of 120 years

from the date of creation or 95 years from date of publication

Other works, artist’s lifetime and 70 years beyond

Joint works, 50 years beyond death of last surviving contributor

Page 26: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Issues in Work for Hire

Copyright transfers may revert If its not “work for hire”, even if the

copyright is transferred, it may revert back to the artist (or heirs if deceased) after 35 years--subject to the right to continue prior uses

Page 27: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Selling and Licensing Rights

Questions to ask prior to selling or licensing rights: Is it “work for hire”? What type of rights are being transferred? How will this restrict the artist in being able to sell similar

works? What happens with copyright owner or licensor goes out of

business or no longer wants to use the work? What is the payment structure? How are royalties computed? Are there any indemnification issues?

Page 28: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Avoid Copyright Infringement!

If you have access to the original work and you make a work virtually identical, even if it may have been independently created, it is likely to be presumed that it was copied

So what if you are an artist that sells copyright in a work? Obviously you had access if you later execute a similar work---make sure that you have a written agreement with purchaser about these matters!

Page 29: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Avoid Copyright Infringement

Test is “substantial similarity”Would an ordinary observer recognize that

the work was copied in whole or in part from the earlier one?

Page 30: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Avoid Copyright Infringement

Do not copy unless you have permissionDo not copy unless you are sure it is in

the public domain (any copyrights have expired)

Pay attention to the limitations in licenses--ex. Its ok to print, but not ok to distribute electronically

Page 31: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Do I need Counsel?

Generally not needed for registration

Highly advised when transferring, licensing, buying or selling copyrightsCould end up with less than bargained forCould end up under certain constraintsCould end up with liabilities you did not

realize you were taking on

Page 32: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Do I need Counsel

May not be able to assess the economic advantages or disadvantages, but will be able to point out legal implications

There might be hidden business issues such as product liabilities

Page 33: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Trademarks

What are Trademarks? Obtaining a Trademark Choosing a good one Avoiding a bad one Trademark searches Registration process Whether to register

Page 34: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

What is a Trademark?

“Brand names” used to distinguish one company’s product from another’s product

Can be more than just words or logos

Trademark vs. Servicemark

Allows consumers to seek or avoid sources of products

Can be the most important asset of a business

Page 35: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Obtaining a Trademark

In the U.S., formalities are unnecessary for trademark rights

Can go through formal registration process in order to enforce rights

Page 36: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Choosing a good one!

Unique and strong marks are best Marks similar to ones used by several businesses

are weak (ex. Sinus medications with “sinu” as the prefix)

Suggestive marks are better, “Flash” to suggest speed (but avoid the GM mistake of Nova which literally means “no go” in Spanish!!)

Arbitrary or “fanciful” marks are the strongest--no connection with the related goods or services, ex. Mr. Pibb

Page 37: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Avoiding a bad one!

Descriptive marks are weak Generic terms not allowed, can’t TM “radio” for a radio

Misspelling not always an advantage, especially if advertised in non-print form

Geographic names are weak Deceptively misdescriptive terms are bad (ex. Two

Minute for a Dry Cleaners) Laudatory marks or personal names are not good

marks as you must prove secondary meaning

Page 38: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Avoiding a bad one!

If you use a mark similar to those used by companies in similar markets, you could be setting yourself up for damages for infringement

Page 39: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Strong Marks

Kodak for Copiers, Fanciful

Apple for Computers, Arbitrary

Sure for Deodorant, Suggestive

All are inherently distinctable and protectable

Page 40: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Weak Marks

Champion for Sparkplugs, Laudatory

L.A. Gear for Shoes, Geographic

Steak and Brew for Restaurant, Descriptive

Tommy’s for anything, personal name

Must prove “secondary meaning” to be protectable

Page 41: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Generic Marks

Lite for Beer

Discount Mufflers for Mufflers

Super Glue for Glue

Do not distinguish one maker from another!!

Page 42: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Trademark Searches

In order to avoid trademark infringement, you must do more than avoid known marksPerform a trademark search in the USPTOSearch state registrationsSearch common law uses of trademark Internet uses of trademark

Page 43: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Trademark Registration Process

Scope State registration only cover within state borders Federal registration, entire U.S. and territories

Requirements Use of Mark In commerce

Page 44: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Trademark Registration Process

Application Examination

Allowed and published No opposition

Registered Opposition

Either win and its registered or lose and game over Rejected

Response to rejection send it back to examination Either overcome rejection or game over

Page 45: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Infringement

In order to sue for infringement, Plaintiff must show PriorityThe mark is protectableAnd Defendant’s mark is likely to confuse

the public

Page 46: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Whether to Register

Federal registration can cost $1000.00 or more, but it is the only way to ensure U.S. protection

Attorney admitted to practice anywhere in the U.S. can register with PTO, but many lawyers are not exposed to trademark law or registration procedures, always best to seek out a specialist

Page 47: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Patents

In order to be patentable, an invention must beUsefulNovelNon-obvious

Page 48: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Types of Patents

Utility Protects processes, machines, articles,

compositions for 20 years

Design Protects article’s ornamental characteristics for 14

years

Business Method Protects methods of doing practically anything

Page 49: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Waiting to File

Priority and One Year Bar First person to reduce invention to practice has priority Only helpful to be first if you can prove it!! Patent application can’t be filed more than one year

after the date the invention was Patented or described in printed publication in this country In public use On sale in this country

Most Foreign countries do not have one year grace period, some have 6 months, some none at all!

Page 50: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Provisional Application

Placeholder filing that preserves an invention’s priority date for one year

Cheap to fileAutomatically abandoned if utility

application is not filed within the yearOnly provides priority to the extent it

properly described the invention

Page 51: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Patent Application Costs

Can range anywhere from $2500-$15,000 to file a utility application with an additional $2000-$5000 through issuance

Can take up to 2-5 years to issue

Page 52: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Patent Pending

Application is published after 18 monthsMarking product “patent pending” may

delay competitors--can’t design around a patent if they can’t see the scope it covers

Cannot sue for infringement until patent issues

Page 53: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Trade Secrets

Any information that is secret and used by a business that gives it a competitive advantage

Trade Secret Case, Plaintiff must prove: A trade secret existed Defendant learned of the trade secret through a

confidential relationship or improper means Defendant used or disclosed or will inevitably disclose

the trade secret without Plaintiff’s authorization Defendant profited from or Plaintiff was damaged by

Defendant’s use or disclosure of trade secret

Page 54: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Conclusions

TrademarksMake sure your mark is protectableMake sure you mark is not owned by

anyone elseProtect valuable marks with trademark

registration

Page 55: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Conclusions

CopyrightsGet author’s written agreement that you

own the copyrightPut a copyright notice on everything that

might be copyrightableRegister if you decide its important

Page 56: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Conclusions

PatentsGet everyone’s written agreement that you

own all patent rightsQuickly seek an attorney to help with filing

patent application

Page 57: BASICS OF RUNNING AN ARTS ORGANIZATION II: INTELLECTUAL PROPERTY ISSUES July 21, 2008 Christina Ezell, Esq. 615-775-7521 Christina.Ezell@gmail.com

Conclusions

Trade SecretsGet everyone’s written agreement that you

own everythingGet confidentiality agreements