Licensing and Copyright: What Every Selling Artist Needs to Know

As artists, we sometimes face the risk of others replicating our work without our permission. This can be a very challenging and disheartening occurrence for artists to deal with. At Jackson’s, we know this experience all too well and appreciate how frustrating it can be. It is very important to know your rights as a creator, and to know how to protect your artistic property from those who may want to copy it or use it without the correct permissions. In this article, Joanne Milmoe of DACS, a not-for-profit organisation that offers guidance on how to protect your rights as an artist and maximise your royalties, explains the basics of copyright and how you can safeguard your artwork from infringement, as well as profit from licensing your work.     Licensing and Copyright: What Every Selling Artist Needs to Know By Joanne Milmoe As an artist, creating and selling your work is your livelihood. But once your art leaves your studio, what happens to your rights as its creator? Did you know that selling a physical artwork does not mean you have given away all your legal rights to it. Copyright and licensing are important tools that not only protect …

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IWC Schaffhausen Formula 1

Albin Merle created this fan-art commercial for the IWC Schaffhausen Ingenieur Automatic 40 watch. Diving into « Asphalt » CGI experiment with pure muscles. This project was built around the idea of a zoetrope, but with a modern twist. Instead of tradi…

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Sara Rossberg: A Luminous Obsession

Sara Rossberg won Joshua Donkor’s Choice Award in Jackson’s Art Prize this year with her work Emergence. In this interview, she discusses preserving the transparency of her layers, drawing as intensely as painting, and looking for detachment in her subjects. Above image: Sara Rossberg sitting in front of her painting Presence – Two in her studio     Josephine: Could you tell us about your artistic background? Sara: I announced at the age of nine that I wanted to be an artist, much to the dismay of my father. After graduating from school in 1971, I entered art college, Staedelschule, Academy of Fine Arts in Frankfurt, Germany. During my second year, I was awarded a scholarship that included one year of studying abroad. So, after the end of my course at Staedelschule, this brought me to London in 1976. Initially, I enrolled at Camberwell College of Art and Crafts to study paper conservation with the intention of learning a skill that would provide me with an income while painting. Within weeks, I hated the course, gave up the whole idea and switched back to painting. As I was unable to move to a postgraduate college, I was given permission to …

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