Issues Surrounding Registration of Colour Trade Marks

Total Page:16

File Type:pdf, Size:1020Kb

Issues Surrounding Registration of Colour Trade Marks RGSL RESEARCH PAPERS NO. 9 Issues surrounding registration of colour trade marks JEKATERINA KUDRJAVCEVA 2012 Riga Graduate School of Law Established in 1998, the Riga Graduate School of Law (RGSL) has emerged as a leading legal education and research institute in the Baltic region. RGSL offers numerous study programmes in the area of International and European Law at bachelor and master’s level and is in the process of establishing a doctoral programme. The School enjoys the support of important international donors and cooperates closely with the University of Latvia, which is the major shareholder. In addition to its growing resident faculty, RGSL also benefits from the cooperation with a large number of eminent scholars and practitioners based elsewhere in Europe an overseas. The School is located in the Art Nouveau district of Riga and hosts an outstanding law library. A primary objective of RGSL is to contribute to the development of Latvia and the wider region by educating new generations of motivated and highly skilled young scholars and professionals capable of facilitating the on-going process of European integration. Research and education in the area of international and European law are integral to the realisation of this objective. The present series of Research Papers documents the broad range of innovative scholarly work undertaken by RGSL academic staff, students, guest lecturers and visiting scholars. Editorial Board: George Ulrich (Prof., Ph.D) Frank Diedrich (Prof., Dr. iur. habil., MLE) Christopher Goddard (M.Ed.) Ligita Gjortlere (M.Sci.Soc.) About the author: Jekaterina Kudrjavceva (LL.M.) graduated from the Faculty of Law at the University of Sheffield, UK, in 2010 and obtained her LL.M in European and International law from the Riga Graduate School of Law in 2012. Her main areas of interest are intellectual property law and private international law. This is the publication of the author’s distinction-awarded Master’s thesis defended at the Riga Graduate School of Law in July, 2012. ISSN 1691-9254 © Jekaterina Kudrjavceva, 2012 TABLE OF CONTENTS Summary ..................................................................................................................................................... 2 Introduction ................................................................................................................................................ 4 1. Colour trade marks – European perspective ...................................................................................... 8 1.1. Legal definitions .............................................................................................................................. 8 1.2. Ways of protecting colour .............................................................................................................. 9 1.3. Historical development ................................................................................................................ 10 1.4. Changeable character of a colour per se ..................................................................................... 12 2. Issue of Registrability........................................................................................................................... 14 2.1. Conditions for registration of a trade mark .............................................................................. 14 2.2. Sign .................................................................................................................................................. 14 2.3. Graphic representation ................................................................................................................. 15 2.4. Distinguishing the goods ............................................................................................................. 19 2.4.1. Inherent distinctiveness ........................................................................................................ 23 2.4.2. Acquired distinctiveness....................................................................................................... 24 2.4.3. Application of Windsurfing Chiemsee evidence list ........................................................ 26 2.4.4. BP Amoco case ......................................................................................................................... 28 2.5. Issue of territoriality - Community colour marks .................................................................... 30 2.6. Other grounds for refusal ............................................................................................................ 32 2.6.1. Descriptive marks .................................................................................................................. 32 2.6.2. Generic marks ........................................................................................................................ 35 3. Issue of free competition ..................................................................................................................... 36 3.1. Rights over colour v. free competition ....................................................................................... 36 3.1.1. Concept of free competition ................................................................................................. 36 3.1.2. Colour trade marks in the light of free competition ......................................................... 37 3.1.3. Balancing colour marks and free competition: in favour of colour ................................ 38 3.1.4. Balancing colour marks and free competition: against colour ........................................ 39 3.2. Need for balance and clear approach ......................................................................................... 43 4. Situation in the United States ............................................................................................................. 46 4.1. Legal requirements and differences from the EU system ....................................................... 46 4.2. Red Sole Mark case ....................................................................................................................... 48 4.2.1. Fashion industry .................................................................................................................... 50 4.2.2. Support of Louboutin ............................................................................................................ 51 4.2.3. Possible litigation in the EU ................................................................................................. 52 4.3. Concluding observations ............................................................................................................. 55 Conclusion ................................................................................................................................................. 56 Annex 1. Examples of registered colour trade marks ......................................................................... 59 Annex 2. Examples of rejected colour trade marks ............................................................................. 62 SUMMARY The subject matter of the present research paper is the acquisition of legal rights over a particular type of non-traditional trade marks, namely a colour mark. The main objective of the research was to determine general trends in treatment of colour marks and the scope of protection afforded to them both in the EU and the U.S. Bearing in mind all the implications brought by the special nature of colour, the paper analyses the procedure of registration and common problems faced by brand owners wishing to obtain protection for a colour. Colour is something so common and widespread that at first sight it is difficult to understand how traditional rules on registration of trade marks can be applied to it; moreover, how someone could be allowed to possess a colour as an object of intellectual property. Our life cannot be imagined without colours. The world, and especially the world of marketing and advertising to which trade marks belong, is full of colourful objects, goods, experiences and decorations. Nevertheless, debates as to whether colour can perform the function of a trade mark and be registered accordingly are now over. The majority of jurisdictions, including the EU, are taking for granted that despite its special nature, in limited circumstances abstract colour can become an independently registered trade mark. The legal provisions governing registration are the same for all types of mark. Still, in case of colour marks they are interpreted very restrictively, making registration an extremely difficult task to perform. While such a restrictive approach to registration is justified by the need to maintain sound operation of justice, it can be influenced by certain considerations that can limit the scope of protection of colours even further. These considerations involve the limited number of available colours and the need to protect free competition in the market. The law grants the proprietor of a registered trade mark exclusive rights to use it and exclude others from using it, which is clearly problematic in the case of colours. For this reason, the courts are not always willing to enforce the monopoly over a colour per se, because when protection and enforcement of non-traditional trademarks is an issue, it may be very difficult to determine the boundary between the owner’s right and hindering
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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 ��������������������������������������������������������������������������������������������������������������������������
    [Show full text]
  • 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
    [Show full text]
  • 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:.
    [Show full text]
  • 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.
    [Show full text]
  • 2 Logos 3 Logo Usage 4 Incorrect Logo Usage 5 Typography 6 Color Palette 7 Logo Color Guide 8 Graphic Elements
    2 Logos 3 Logo Usage 4 Incorrect Logo Usage 5 Typography 6 Color Palette 7 Logo Color Guide 8 Graphic Elements 1 The NetVU logo is comprised of a customized typeface and a graphic symbol derived from the “V” of that typeface. Two “Vs” connect to create a sense of dialogue (hence the users experience) while simultaneously establishing a “platform” or springboard from which this interaction occurs (hence the user group). Positive and negative versions of all logos are available for use when a one-color application is necessary. PRIMARY LOGO The primary logo contains the graphic symbol, wordmark (acronym), title and tagline The wordmark always appears aligned and set below both the graphic symbol SECONDARY LOGO The secondary logo contains the graphic symbol, wordmark and tagline TERTIARY LOGO The tertiary logo contains the graphic symbol and wordmark ALTERNATE VERSIONS (see page 7 for color guidelines) GRAYSCALE TWO-COLOR NEGATIVE POSITIVE 2 CLEARSPACE • Maintain equal spacing around all parameters of the logo • Avoid placing type or other elements within the set boundaries • Logo usage should be set with at least 0.25” clearspace on all sides (when running at the minimum size) and 0.5” of clearspace when running at a larger scale MINIMUM SIZE REQUIREMENTS To maintain legibility in print mediums, please refer to the minimum size requirements below Primary minimum Secondary minimum Tertiary minimum 1.75” in width 1.75” in width 1.75” in width 3 Do not stretch or distort the logo. Do not rotate the logo. Do not add effects to the logo. Do not screen the logo.
    [Show full text]
  • Graphics Standards Manual
    Graphics Standards Manual Updated 01.18.2017 LSU Health New Orleans | Graphic Standards Manual LSU Health New Orleans | Graphic Standards Manual 1 LSU Health New Orleans: Graphic Standards This section will provide information on graphic standards for LSU Health New Orleans and show how the color palette is applied to it. The LSU Health New Orleans logo is a registered trademark of Louisiana State University Health Sciences Center New Orleans (LSUHSC-NO). This provides protection against the manufacture, use, display, or sale of imitations of the logo without LSUHSC-NO’s consent. Therefore, the logo must be used for approved purposes only and it may not be modified beyond the approved versions contained in this manual. If you have any questions regarding usage of the LSU Health New Orleans logo within the LSU Health Sciences Center New Orleans system, please contact LSUHSC-NO Auxiliary Enterprises, Campus Technology and Supply Store, 504-568- 2565 or [email protected]. Updated 01.18.2017 LSU Health New Orleans | 1901 Perdido Street, Room 2200 | New Orleans, Louisiana 70112 | 504.568.2565 LSU Health New Orleans | Graphic Standards Manual 2 LSU Health New Orleans: Color Palette As part of the new branding, “Health Sciences Center” has been dropped. This forward-looking nomenclature designates all educational, clinical and outreach entities that fall under the New Orleans mother ship. Branding does not change the legal name of the University. The name remains Louisiana State University Health Sciences Center - New Orleans (LSUHSC-NO). Vendor Specifications PMS colors Pantone color is to be used for production that is for one or two color printing.
    [Show full text]
  • BRAND GUIDELINES Including PART 2 for Tpas —November 2Oo8—
    BRAND GUIDELINES Including PART 2 for TPAs —November 2oo8— 1 OUR HISTORY The year was 1976, and the New York that people once knew was about to change. The State was in a deep economic slump and looked to tourism to help turn around the economy. With $400,000 from the Governor, industry leaders took an incredibly bold step and spent the entire tourism budget on market research. With consumer feedback in hand and $4 million, an advertising campaign was launched in 1977. The great minds of Madison Avenue produced a brilliant little campaign called I LOVE NEW YORK. A full-blown orchestra was assembled to record the song created by the “King of the Jingle” Steve Karmen, while acclaimed graphic designer, Milton Glaser crafted the famous logo. It all started with the very first TV commercial highlighting the grandeur of New York State with lakes, mountains and countryside and folks proclaiming “I live in [North Carolina, Cape Cod, Brooklyn]...but I Love New York!” The campaign was magical and captivated hearts instantly. The next commercial highlighted New York City and featured Broadway packages. From there, I LOVE NEW YORK blossomed into a star-studded extravaganza with A-list celebrities and Broadway stars declaring their love for New York at every turn. Something soon happened though. I LOVE NEW YORK became deeply connected with New York City, even though the brand started with the state. This association strengthened further in September 2001 when the world joined New Yorkers in expressing their love for this special place. 2 OUR HEART There’s something really special about being a New Yorker— whether you’re from the City or across the State.
    [Show full text]
  • Colour Trade Marks: Whiskas Purple Will Be Successfully Registered After a Cat Fight in the Federal Court
    Colour Trade Marks: Whiskas purple will be successfully registered after a cat fight in the Federal Court By Alexia Marinos, Senior Associate of Gadens Lawyers, Sydney www.gadens.com.au Following the landmark decision to allow Cadbury to register five shades of purple as trade marks for its chocolate packaging after a ten year dispute with Darrell Lea, brand owners are rushing to secure their colour trade mark registrations. Wedgewood Limited owns blue for ceramics and porcelain, Telstra has trade marked its yellow phonebooks, Australian Postal Corporation owns yellow for mail delivery services and Kraft Foods Limited owns silver for cream cheese. Mars Australia Pty Ltd (Mars) recently won a battle in the Federal Court against Societe de Produits Nestle SA (Nestle) to secure trade mark protection for its customised shade of purple (known as the Whiskas Purple) for its cat food packaging. Nestle successfully opposed the application in the Trade Marks Office, however, Mars appealed the decision of the Delegate of Registrar of Trade Marks to the Federal Court of Australia and was successful after Nestle dropped its opposition in the final stages of the Appeal. It’s believed that Nestle struck a deal with Mars to allow them to continue to use purple on their Purina brand cat food. The case Mars, the owner of the popular cat food Whiskas had used its Whiskas Purple colour on its cat food packaging and marketing materials since 2000. In November 2002, Mars applied for trade mark protection for its Whiskas Purple. The application was accepted for registration; however, Nestle opposed the application.
    [Show full text]
  • Heraldry for Beginners
    The Heraldry Society Educational Charity No: 241456 HERALDRY Beasts, Banners & Badges FOR BEGINNERS Heraldry is a noble science and a fascinating hobby – but essentially it is FUN! J. P. Brooke-Little, Richmond Herald, 1970 www.theheraldrysociety.com The Chairman and Council of the Heraldry Society are indebted to all those who have made this publication possible October 2016 About Us he Heraldry Society was founded in 1947 by John P. Brooke-Little, CVO, KStJ, FSA, FSH, the Tthen Bluemantle Pursuivant of Arms and ultimately, in 1995, Clarenceux King of Arms. In 1956 the Society was incorporated under the Companies Act (1948). By Letters Patent dated 10th August 1957 the Society was granted Armorial Bearings. e Society is both a registered non-prot making company and an educational charity. Our aims The To promote and encourage the study and knowledge of, and to foster and extend interest in, the Heraldry Society science of heraldry, armory, chivalry, precedence, ceremonial, genealogy, family history and all kindred subjects and disciplines. Our activities include Seasonal monthly meetings and lectures Organising a bookstall at all our meetings Publishing a popular newsletter, The Heraldry Gazette, and a more scholarly journal, The Coat of Arms In alternate years, oering a residential Congress with speakers and conducted visits Building and maintaining a heraldry archive Hosting an informative website Supporting regional Societies’ initiatives Our Membership Is inclusive and open to all A prior knowledge of heraldry is not a prerequisite to membership, John Brooke-Little nor is it necessary for members to possess their own arms. e Chairman and Council of the Heraldry Society The Society gratefully acknowledges the owners and holders of copyright in the graphics and images included in this publication which may be reproduced solely for educational purposes.
    [Show full text]