Copyright
Two of my earliest commissions, we’re talking over twenty years ago, taught me that art buyers know nothing about copyright law, and don’t even know that they don’t know. One man told me openly that he’d taken my ink drawing to a local print shop and had copies made for family members. This was a piece that would ONLY be of interest to his family (his grandmother’s house), and he had given me a truly splendid ‘tip’ over and above the purchase price I asked for, so I said nothing about that. He just didn’t know, and the tip certainly made up for what I would have asked for if he’d actually bought the right to copy.
The next lady had commissioned a large oil portrait of her 1770′s era mansion. She had all sorts of [legitimate] suggestions about what she wanted, including eliminating power lines/air conditioners, making the shrubs look more tidy (they hadn’t been pruned in a while) and emphasizing the flowers in the flower garden. All fair requests, and the finished work looked marvelous - just like the mansion but j-u-s-t a touch nicer and neater! The next year I saw that her brochures for wedding events were using my artwork instead of a photo of the place. That was - NOT cool; uncredited commercial use of my artwork. However, she was kind of a bigwig in our community (and notably quite mean and litigious) and I was a relatively unknown artist. I felt like pushing this issue would hurt me more than it helped, so I let it be and used it as a learning experience.
In later commissions, I actually explained copyright to my clients. Where the piece would have value only to family members (and that happened quite a bit) I’d tell them that is was ok to copy for family, just not for commercial use. And, of course, adjust my price a bit. One lady who ran a museum/heritage center actually needed copyright to make posters, so I not only built full copyright into my pricing, but gave her a written statement to attach behind the painting so that her printer would know everything was fair and square with that. Also, I was credited on those printings, which meant a lot to me!
One of the best, though, was a local man who has lived about two miles down the road for my his whole (80+ years!) life. He built his house himself, every bit, and he told me about the process in great detail when I went to get reference photos for the painting. As before, I told him that he could copy it for family or to make some greeting cards for himself (he is so proud of his house. So proud.) Wouldn’t you know, some time after I delivered the painting, I got a holiday card from Frank. He’d had a printer make him cards from the painting. That was a delight to receive in the mail.
[ID: An oil painting of a two story stone house backed by early spring woods with redbud trees blooming. There is a scroll at the bottom that reads: Stonestack 1965]