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Rediscovered Art
Mine the annals of history for art from times past for an affordable way to enhance your design work. 

by Sheree Clark
April/May 2006

Gouthier Design: Saskia, Ltd.
Saskia is a cultural documentation company with one of the most important archives of art historical images for teaching. The Saskia collection is extensive, with works from over 100 museums including the Louvre, the Musée d’Orsay, and the Uffizi, as well as respected U.S. museums. Saskia approached Gouthier Design to retool its company image. A natural creative direction for an image-company client is to use art the company licenses. In order to avoid violating any copyright laws or agreements with museums, Gouthier developed combinations of images in a collage fashion to depict the many styles of artworks in the collection. Photographs of great works are cropped very tightly to emphasize intricate details and have been morphed together to visually reinforce the massive size of the Saskia collection.
We’ve all been there: The deadline is looming, the budget is tight, and no images are readily available to use for the project. Lacking time or money for original illustration and absent a decent photo bank, some forward-looking designers are gazing backward and using vintage imagery … and having fun researching just the right art.

Vintage visuals are a natural choice in situations such as marking company anniversaries or commemorating historic events. But old images can be a designer’s life-saver in other contexts as well, like when a feeling of stability or tradition is desired or to depict a then vs. now concept, for example.

Historic graphics are abundant and readily available. A variety of websites and stock houses sell old photographs, steel engravings, woodcuts, and clip art from printed catalogs or online. Some images—such as da Vinci’s “Mona Lisa”—have essentially become public domain and have been used many times over (in both original and altered forms), without the payment of royalties or usage fees. There are plenty of other ways of obtaining vintage images for modernday uses, including:

Garage sales
Many garage and moving sales feature stacks of old photographs and discarded family albums. Although the photos or illustrations and drawings are usually not professional quality, they can be a source of inspiration for the right project. An added bonus: combing through the piles of snapshots can be profitable: Daguerreotypes, tintypes, and ambrotypes— all forms of early photographic processes—still turn up at garage sales. Prices typically range from $5 to $20; these same items have been offered at auctions from $200 to $600!

Dealers
Antique stamps, postcards, record albums, book jackets, and packaging can all be fodder for befuddled designers on deadline or with small budgets. Find dealers in antique malls or in Yellow Pages listings by category. Many also have websites and participate in online auctions.

Old publications
High school yearbooks, old magazines, and out-ofdate encyclopedias can contain a bonanza of historical reference material. While a scan from a book may not yield superior reproduction, depending upon what effect you’re hoping to achieve, it might fit the bill perfectly.

Online auctions
In addition to searching for “vintage photographs,” or “old postcards,” by entering keywords directly related to your topic you can sometimes find just the image you are searching for.

Newspapers and publishers
News publications generally have very organized and well-catalogued archives. Some publications will allow researchers access to the files and will make duplicate photos available for a fee; this is particularly true of small-town publications.

Historical societies and museums
Many state, county, or community historical societies have archives that include photos and original historic documents such as handwritten legislative bills, deeds, and historic memorabilia. Local historical organizations are especially good resources if you need images from a specific geographic region.

Client archives
Some organizations are very good about documenting their own histories, and some even have a person or department that is charged with archiving images, ephemera, and artifacts. If your client does not have such resources available, check with the associations they belong to; it’s possible that a related trade organization may possess items of relevance to your project. For an example of this approach in action, see my article “Talking P.E.O.” in the Feb/March 2006 issue (V11N1).

The family attic
Sometimes the image you need is right under your nose … or your feet!

Once you’ve found a suitable image, you’ll want to be sure you have the right to use it. While a complete discussion about copyright law is not possible here, there are a few things to be aware of and to think about:

Laws may vary by state.
Images of public figures, for example, may be affected by state statutes about publicity and privacy. Don’t assume that what has been done in one area of the country can be done without risk somewhere else. If you’re thinking about using the likeness of a person or a work of art that may be protected by copyright, check to see if there are ownership issues associated with the work.

“Public domain” can be elusive.
There are four categories of works that are found within the public domain. First, the public domain is made up of works that do not meet the statutory requirements for copyright. The second category includes all works published in the United States on which the copyright has expired; these are no longer eligible for copyright protection. The third category is made up of works in which the author never claimed copyright. U.S. documents comprise the fourth category. If you’re uncertain about the status of an image you’re considering, it’s a good idea to do some additional research.

How much risk are you willing to take?
Works that are copyrighted have a bundle of rights associated with them. The owner of the copyright has the exclusive right to reproduce and distribute the work. There may be some instances when you recognize that you might be in copyright violation, but you decide to take the risk and go ahead anyway. This might include using a protected likeness or image in a one-off situation, such as on a sign at a church potluck, or even on an extremely limited-use basis such as an invitation to a small private party. But widespread or commercial use of a protected image puts both you and your client at risk. If you have any doubt at all, check with an attorney or your client’s legal department.

For a more in-depth discussion of what designers need to know about copyrights and trademarks, check out Shel Perkins’ excellent series of articles on these and related issues.


Hitchcock Fleming & Associates: Holiday greeting card
Hitchcock Fleming decided to reach into the past to celebrate the 2005 holiday season. Known for its creative approach to holiday cards, the company always manages to incorporate each of its nearly 100 employees. The 2005 holiday card features a childhood photo of every employee. By visiting a separate URL on the company’s website, recipients of the card can click on the vintage image of each associate to reveal a corresponding present-day photo.


AdamsMorioka: Sundance Festival
With its Colorado location and maverick roots, the Sundance Film Festival offers a natural setting for vintage-themed visuals and materials. Promotional work by AdamsMorioka has capitalized on the associations while never devolving into predictable territory. For the ’06 festival, AdamsMorioka extended the strategy while keeping the imagery fresh. Principal Sean Adams relates, “One of the primary ideas we look at for all Sundance work is a sense of place. The old images let us communicate with a little humor and make it less literal.” “Sundance is not about ‘cutting edge,’” explains Adams, “It is about personal vision. It is about storytelling.” Some images were from the Sundance archives, some were from the Library of Congress. The latter were ideal, he says, “because they conveyed ideas in small narratives, and because they were free. We didn’t disguise defects in the images, but allowed them to be artifacts that had been handled, looked at, and saved by someone. Like a film, we wanted to capture a single, personal moment. If photography is truth, then film is truth 24 times a second.”

Recommended resources
The Public Domain: How to Find and Use Copyright-Free Writings, Music, Art & More, by Stephen Fishman, $29.74, Nolo

Getting Permission: How To License & Clear Copyrighted Materials Online & Off, by Richard Stim, $29.74, Nolo

University of California Image Service Collections

The National Archives Archival Research Catalog (ARC)

Library of Congress—American Memory

Associated Press Photo Services

The New York Times Store

About the author
Sheree Clark is managing partner of Sayles Graphic Design in Des Moines, Iowa; an author and speaker on organizational and business issues; and owner of Art/Smart Consulting, which provides selfpromotion and business strategies to creative professionals.
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