Application for Registration Or Renewal, Review the Items Below to Ensure the Application Has Been Completed
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Trademarks, Metatags, and Initial Interest Confusion: a Look to the Past to Re- Conceptualize the Future
173 TRADEMARKS, METATAGS, AND INITIAL INTEREST CONFUSION: A LOOK TO THE PAST TO RE- CONCEPTUALIZE THE FUTURE CHAD J. DOELLINGER* INTRODUCTION Web sites, through domain names and metatags, have created a new set of problems for trademark owners. A prominent problem is the use of one’s trademarks in the metatags of a competitor’s web site. The initial interest confusion doctrine has been used to combat this problem.1 Initial interest confusion involves infringement based on confusion that creates initial customer interest, even though no transaction takes place.2 Several important questions have currently received little atten- tion: How should initial interest confusion be defined? How should initial interest confusion be conceptualized? How much confusion is enough to justify a remedy? Who needs to be confused, when, and for how long? How should courts determine when initial interest confusion is sufficient to support a finding of trademark infringement? These issues have been glossed over in the current debate by both courts and scholars alike. While the two seminal opinions involving the initial interest confusion doctrine, Brookfield Commun., Inc. v. West Coast Ent. Corp.3 and * B.A., B.S., University of Iowa (1998); J.D., Yale Law School (2001). Mr. Doellinger is an associate with Pattishall, McAuliffe, Newbury, Hilliard & Geraldson, 311 S. Wacker Drive, Chicago, Illinois 60606. The author would like to thank Uli Widmaier for his assistance and insights. The views and opinions in this article are solely those of the author and do not necessarily reflect those of Pattishall, McAuliffe, Newbury, Hilliard & Geraldson. 1 See J. Thomas McCarthy, McCarthy on Trademarks and Unfair Competition, vol. -
Visual Design & Branding Guidelines
Visual Design & Branding Guidelines For questions about this guide please contact: [email protected] Updated 06.03.15 Logo The Playworks logo is a key element and a valuable asset for our brand. The correct and consistent use of our logo enhances our brand recognition. Our logo consists of the Playworks mark and wordmark only. The goal of this document isn’t to stifle creativity. It’s to provide direction that will help us create materials that our audiences will come to recognize as ours. Minimum size: 1” wide VISUAL BRANDING GUIDELINES | PLAYWORKS | 2 Alternate versions Rounded square/rectangle: The logo can be rendered as a blue rounded square with the logo elements centered inside it in white. Minimum space between the edge of the shape and the wordmark should be at least x x x, where x is the height of the logotype. x = height of wordmark VISUAL BRANDING GUIDELINES | PLAYWORKS | 3 Logo white space x Give the logo room to breath and help it stand out. Never crowd the logo with other visual elements. x x The unit of measure, x, is the height of the wordmark. You must allow space one x wide around an imaginary box that fits around the logo. x x = height of wordmark VISUAL BRANDING GUIDELINES | PLAYWORKS | 4 Logo color I. PREFERRED: Bright Blue† - logomark Gray - wordmark Use this color scheme as the default choice. I. PREFERRED II. MONOTONE II. MONOTONE Bright Blue - all logo elements If you can only use one color, use the Bright Blue only. III. BLACK Black - all logo elements Use this when color option is unavailable or budget is a constraint. -
Branding Guidelines
Branding Guidelines Company: POWERHANDZ Contents: 1.0 Introduction 2.0 The Logo Design 2.1 The Logo Usage 3.0 Color Scheme 4.0 Typography 5.0 Contact Details Date: June 2014 1.0 Introduction Overview The purpose of these guidelines is to explain the use of the new brand style and to reinforce consistent application of the visual elements in all communications. This includes publications, presentations, and all other marketing materials both online and offline. Guidelines on the use of the logo are included. 1.0 Introduction Branding Guidelines - June 2014 1. Your new “identity” Your identity is the face and personality presented to the global community. It’s as important as the products and services you provide. Your identity is the total effect of your logos, products, brand names, trademarks, advertising, brochures, and presentations— everything that represents you. Because the brand cannot be compromised, we’ve created this guide to provide all the pertinent specifications you need to maintain its integrity. The guidelines set in this document are not meant to inhibit, but to improve the creative process. By following these guidelines, the materials you create will represent your company cohesively to the outside world. 1.0 Introduction Branding Guidelines - June 2014 2. 2.0 The Logo Design The company logo is an important and valued graphic element and must be used consistently and appropriately, even minor variations will undermine and compromise the image of the branding. 2.0 The Logo Design Branding Guidelines - June 2014 3. Primary vertical logo - light background Primary vertical logo - dark background 2.0 The Logo Design Branding Guidelines - June 2014 4. -
OPERAS-Design-Manual.Pdf
OPERAS | Logo Wordmark and Logo The OPERAS logo consists of a symbol logo with subline and a wordmark, which are used as a unit. The symbol consists of the opened capital letter “O” and is accentuated by a bracket, symbolizing the network/governing body. The letters are based on the font Utopia Std. The “open” letters symbolize the theme of “openness”. The OPERAS logo, depending on the use and size, can be used with or without subline minimal 6pt subline. The subline should not be smaller than 6pt. The logo can furthermore be used separately, e.g. as favicon. symbol OPERAS | Logo Wordmark and Logo The OPERAS logo can be used either with or without subline. There is a version of the logo that is completed by the ending -D (representing Design). The proportions and spacing, as well as the colour values of the logo and wordmark are not to be changed. OPERAS | Colours Red Purple OPERAS Colours The brand colours are red and purple. These colours are complemented by a pure black, which is used for the subline. A grey colour is used in the black-and-white version of the logo. Colour (printing) Colour (printing) CMYK 7/100/70/30 CMYK 50/90/0/40 Colour (web) Colour (web) sRGB 170/10/45 sRGB 105/35/ 100 Black Grey Colour (printing) Colour (printing) CMYK 0/0/0/100 CMYK 0/0/0/60 Colour (web) Colour (web) sRGB 0/0/0 sRGB 135/ 135 /135 OPERAS | Corporate Typeface Utopia Std Corporate Typeface Univers LT Pro The serif font Utopia Std and the sans serif Display font Univers LT Pro are combined for the corporate design. -
NYU School of Law Outline: Trademarks, Barton Beebe
NYU School of Law Outline: Trademarks, Barton Beebe Will Frank (Class of 2011) Fall Semester, 2009 Contents 1 Introduction to Trademark and Unfair Competition Law 3 1.1 Sources and Nature of Rights . 4 1.2 The Nature of Unfair Competition Law . 4 1.3 Purposes of Trademark Law . 4 1.4 The Lanham Act . 5 2 Distinctiveness 6 2.1 The Spectrum of Distinctiveness . 7 2.2 Descriptiveness and Secondary Meaning . 7 2.3 Generic Terms . 8 2.4 Distinctiveness of Nonverbal Identifiers (Logos, Packages, Prod- uct Design, Colors) . 9 2.4.1 Different Tests/Standards? . 9 2.4.2 Expanding the Types of Nonverbal Marks . 9 2.4.3 The Design/Packaging Distinction . 10 2.4.4 Trade Dress Protection After Wal-Mart . 10 2.5 The Edge of Protection: Subject Matter Exclusions? . 12 2.5.1 Exotic Source-Identifiers . 12 2.6 Review . 12 3 Functionality 13 3.1 The Concept . 14 3.2 The Scope of the Doctrine . 15 3.3 The Modern Approach . 15 3.4 Post-TrafFix Devices Applications . 17 4 Use 18 4.1 As a Jurisdictional Prerequisite . 18 4.2 As a Prerequisite for Acquiring Rights . 18 4.2.1 Actual Use . 18 4.2.2 Constructive Use . 19 1 4.3 \Surrogate" Uses . 20 4.3.1 By Affiliates . 20 4.4 The Public as Surrogate . 20 4.5 Loss of Rights . 21 4.5.1 Abandonment Through Non-Use . 21 4.5.2 Abandonment Through Failure to Control Use . 21 5 Registration 22 5.1 The Registration Process . 22 5.1.1 Overview . -
Protecting Folklore Under Modern Intellectual Property Regimes
American University Law Review Volume 48 | Issue 4 Article 2 1999 Protecting Folklore Under Modern Intellectual Property Regimes: A Reappraisal of the Tensions Between Individual and Communal Rights in Africa and the United States Paul Kuruk Follow this and additional works at: http://digitalcommons.wcl.american.edu/aulr Part of the Intellectual Property Commons, and the International Law Commons Recommended Citation Kuruk, Paul. “ Protecting Folklore Under Modern Intellectual Property Regimes: A Reappraisal of the Tensions Between Individual and Communal Rights in Africa and the United States.” American University Law Review 48, no.4 (April, 1999): 769-843. This Article is brought to you for free and open access by the Washington College of Law Journals & Law Reviews at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in American University Law Review by an authorized administrator of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. Protecting Folklore Under Modern Intellectual Property Regimes: A Reappraisal of the Tensions Between Individual and Communal Rights in Africa and the United States Keywords Folklore, Intellectual Property Law, Regional Arrangements This article is available in American University Law Review: http://digitalcommons.wcl.american.edu/aulr/vol48/iss4/2 PROTECTING FOLKLORE UNDER MODERN INTELLECTUAL PROPERTY REGIMES: A REAPPRAISAL OF THE TENSIONS BETWEEN INDIVIDUAL AND COMMUNAL RIGHTS IN AFRICA AND THE UNITED STATES * PAUL KURUK TABLE OF CONTENTS Introduction.............................................................................................. I. Folklore Under Traditional Systems........................................ 776 A. Nature of Folklore ............................................................. 776 B. Protection Under Customary Law .................................... 780 1. Social groups and rights in folklore ........................... -
Basic Facts About Trademarks United States Patent and Trademark O Ce
Protecting Your Trademark ENHANCING YOUR RIGHTS THROUGH FEDERAL REGISTRATION Basic Facts About Trademarks United States Patent and Trademark O ce Published on February 2020 Our website resources For general information and links to Frequently trademark Asked Questions, processing timelines, the Trademark NEW [2] basics Manual of Examining Procedure (TMEP) , and FILERS the Acceptable Identification of Goods and Services Manual (ID Manual)[3]. Protecting Your Trademark Trademark Information Network (TMIN) Videos[4] Enhancing Your Rights Through Federal Registration Tools TESS Search pending and registered marks using the Trademark Electronic Search System (TESS)[5]. File applications and other documents online using the TEAS Trademark Electronic Application System (TEAS)[6]. Check the status of an application and view and TSDR download application and registration records using Trademark Status and Document Retrieval (TSDR)[7]. Transfer (assign) ownership of a mark to another ASSIGNMENTS entity or change the owner name and search the Assignments database[8]. Visit the Trademark Trial and Appeal Board (TTAB)[9] TTAB online. United States Patent and Trademark Office An Agency of the United States Department of Commerce UNITED STATES PATENT AND TRADEMARK OFFICE BASIC FACTS ABOUT TRADEMARKS CONTENTS MEET THE USPTO ������������������������������������������������������������������������������������������������������������������������������������������������������������������ 1 TRADEMARK, COPYRIGHT, OR PATENT �������������������������������������������������������������������������������������������������������������������������� -
Prohibiting Product Placement and the Use of Characters in Marketing to Children by Professor Angela J. Campbell Georgetown Univ
PROHIBITING PRODUCT PLACEMENT AND THE USE OF CHARACTERS IN MARKETING TO CHILDREN BY PROFESSOR ANGELA J. CAMPBELL1 GEORGETOWN UNIVERSITY LAW CENTER (DRAFT September 7, 2005) 1 Professor Campbell thanks Natalie Smith for her excellent research assistance, Russell Sullivan for pointing out examples of product placements, and David Vladeck, Dale Kunkel, Jennifer Prime, and Marvin Ammori for their helpful suggestions. Introduction..................................................................................................................................... 3 I. Product Placements............................................................................................................. 4 A. The Practice of Product Placement......................................................................... 4 B. The Regulation of Product Placements................................................................. 11 II. Character Marketing......................................................................................................... 16 A. The Practice of Celebrity Spokes-Character Marketing ....................................... 17 B. The Regulation of Spokes-Character Marketing .................................................. 20 1. FCC Regulation of Host-Selling............................................................... 21 2. CARU Guidelines..................................................................................... 22 3. Federal Trade Commission....................................................................... 24 -
What Specsavers Taught Brand Owners and the UKIPO
WHAT SPECSAVERS TAUGHT BRAND OWNERS AND THE UKIPO Specsavers is the largest chain of retail opticians in the UK. The real interest was in the trade mark infringement case. In its shops and promotional materials it makes much use of this Specsavers had a number of community trade marks (a) in trade mark: respect of the word mark SPECSAVERS and also (b) in respect of three device marks: Shaded Logo (“the Logo in Green”) So when Asda set about re-launching its own existing optician’s business in October 2009 under this mark: Unshaded Logo The Asda Logo Wordless Logo Specsavers predictably was not best pleased. Specsavers was equally unamused by two straplines which Asda used to promote its own in-store optician’s business: “Be a real spec saver at Asda” (the First Strap Line) “Spec savings at Asda” (the Second Strap Line) It will be noted that Specsavers did not have a registration for the Logo in Green – their device in the colour green, which they Specsavers, perhaps not unsurprisingly, sued Asda for trade actually use. mark infringement and passing off. The passing off claims failed because the trial judge at first instance held that none of the marks used by Asda either alone or cumulatively effected the required misrepresentation – the use of the Asda mark was too prominent in the logos and in the strap lines to allow for any confusion. Three Ways in Which a Trade Mark Can Be Infringed The table below illustrates the three main ways in which a trade mark, UK or Community, can be infringed:. -
Logo Use Guidelines
Logo Use Guidelines Get the ocial Plone logo in various formats from http://plone.org/logo 1 About the Logo Minimum Size Projects and companies using Plone are encouraged to use the Plone The logo must always be displayed at a size large enough to read both logo on their websites, brochures, packaging, and elsewhere. You may the logo type and the registered trademark. This will vary based on the not use the logo or its likeness as a company logo or for any other resolution of the medium it is being used in - but as a general rule the commercial purpose without permission from the Plone Foundation. logo circle should be no smaller than 1 cm (3/8”) or 36 pixels in height. User groups may use the logo in their materials, as long as they don't make any prot from it and comply with usage guidelines. The Plone logo is a worldwide registered trademark of the Plone Foundation, Clear Space which is responsible for defending against any damaging or confusing It is critical to maintain an open area surrounding the Plone logo so it uses. In general, we want the logo to be used as widely as possible to remains recognizable and does not become lost in other page promote Plone and the Plone community. Derivative versions of the elements. Clear space is dened relative to the size of the logo, not as a Plone logo are generally prohibited, as they dilute Plone's brand iden- border of a set distance (such as saying “1/4 inch”.) tity. -
Basics Track: Franchisor's Intellectual Property and How to Protect It
International Franchise Association 52nd Annual Legal Symposium May 5-7, 2019 Washington, DC Basics Track: Franchisor’s Intellectual Property and How to Protect It Christopher Kelly Partner, Wiley Rein LLP Washington, D.C. Vincent Frantz Attorney, Cheng Cohen LLC Chicago, Illinois 1 Table of Contents I. The Four Primary Types of Intellectual Property ....................................................... 4 A. Trademarks ........................................................................................................... 4 1. Selecting a Protectable Mark ............................................................................. 5 2. Common Law Trademarks ................................................................................. 7 3. Domestic Trademark Registration ...................................................................... 8 4. International Trademark Protection .................................................................. 11 5. Proper Use of Trademarks ............................................................................... 12 6. Enforcement of Rights/Trademark Infringement ............................................... 13 B. Trade Secrets ...................................................................................................... 14 1. Elements of a Trade Secret.............................................................................. 15 2. Misappropriation of Trade Secrets ................................................................... 16 3. Federal Protection for Trade Secrets -
Introduction to Trademark Law and Practice
WORLD INTELLECTUAL PROPERTY ORGANIZATION INTRODUCTION TO TRADEMARK LAW & PRACTICE THE BASIC CONCEPTS A WIPO TRAINING MANUAL GENEVA 1993 (Second Edition) ( ( WIPO PUBLICATION No 653 (El ISBN 92-805-0167-4 WIPO 1993 PREFACE The present publication is the second edition of a volume of the same title that was published by the World Intellectual Property Organization (WIPO) in 1987 and reprinted in 1990. The first edition was written by Mr. Douglas Myall, former Assistant Registrar of Trade Marks, United Kingdom. The present revised edition of the publication has been prepared by Mr. Gerd Kunze, Vevey, Switzerland, and reflects his extensive expertise and experience in the administration of the trademark operations of a large international corporation, Nestle S. A., as well as his intensive involvement, as a leading representative of several international non-governmental organizations, in international meetings convened by WIPO. This publication is intended to provide a practical introduction to trademark administration for those with little or no experience of the subject but who may have to deal with it in an official or business capacity. Throughout the text, the reader is invited to answer questions relating to the text. Those questions are numbered to correspond to the answers that are given, with a short commentary, in Appendix I. Arpad Bogsch Director General World Intellectual Property Organization February 1993 ( ( LIST OF CONTENTS CHAPTER 1. TRADEMARKS AND OTHER SIGNS: A GENERAL SURVEY 7 1.1 Use of trademarks in commerce . 9 1.2 What is a trademark?. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 9 1.3 Need for legal protection .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 10 1.4 How can a trademark be protected? .