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Protect Your Legal Rights
Before signing on the dotted line, know these contractual basics. 

by Shel Perkins
December 2007
Young designers often perform services for clients without written contracts. Unfortunately, this means opening the door to problems that could have been avoided. But once you’ve been burned a few times, you come to realize the importance of having formal agreements in place with clients. A good contract prevents confusion and protects everyone’s interests.

THE BIG PICTURE
In order to develop a good understanding of how contracts work, it helps to know a little bit about two different aspects of the U.S. legal system: statutes and common law.

A statute is a written law passed by Congress (at the federal level) or a legislature (at the state level). On a case-by-case basis, courts then interpret how those statutes apply to particular situations. Court decisions establish precedents—meaning when a similar case comes up in the future, earlier court decisions will be used as points of reference.

Most of the laws relevant to contracts are state statutes. For designers, though, federal copyright and trademark laws are very important as well. Separately, some contract issues are guided by common law. This term refers to the fact that courts are often called upon to make decisions on topics that are not covered by statutes. Because such decisions also establish precedent, common law is described as being judge-made.

Now that we’ve gone over the basics, we’re ready to discuss the nature of an individual contract.

WHAT IS A CONTRACT?
A contract is an exchange of promises among two or more persons or entities (referred to as the parties) whereby each party agrees to do—or not to do—something. A contract comes into existence when one party accepts another’s offer, provided there is consideration. Consideration is something of value that is provided by each party—for example, a designer will provide creative services and a client will provide payment. It’s important to remember that if there’s no consideration, a contract has not been formed.


Your negotiation with the client may lead to formation of a contract if an offer is made and accepted that includes consideration—an exchange of things that have legal value.

Oral contracts
Some designers provide services to clients based on nothing more than a handshake. This is not a good idea, even though most oral agreements are in fact enforceable, as long as the parties sufficiently indicated they intended to make a contract. There are important exceptions to this, however. Certain types of agreements must be in writing in order to be legally binding, including agreements for projects that will not be completed within 12 months. This is one of the restrictions in a widely adopted state law known as the Statute of Frauds.

Implied terms
Even if your contract is in writing, state and federal laws will affect how it is interpreted. Most legal agreements are subject to implied terms and conditions—general standards or practices that apply even if they’re not directly stated within the contract document itself. For instance, some states impose a warranty on transactions (such as California, which imposes a warranty of good faith and fair dealing). A warranty is a promise in a contract. It’s a guarantee that the subject of the agreement is as represented. For example: A design firm might warrant its work is original, or that a finished digital project will function well on a specific operating system, or something of a similar nature.

Indemnification
This raises the important issue of indemnification. Indemnity means that, in the event you breach any warranty you’ve given, you agree to provide security against any hurt, loss or damage that might occur. A breach can be any failure, without legal justification, to perform as you have promised in the contract. For example, if your design firm has warranted that its work is original, you might then indemnify the client against any third-party claims of intellectual property infringement.

Disputes
If your written contract is vague on any point—or if you don’t have a signed contract at all—it’s quite easy to get into disputes. If a dispute with a client turns into a lawsuit, how is the court going to interpret anything that was not specified in the agreement? Apart from relevant statutes (such as those concerning implied terms and conditions) and legal precedents, the court might also consider the following:

1. How the parties have dealt with each other in the past under prior agreements—referred to as course of dealing

2. How they’ve acted in performing their current agreement—called course of performing

3. How other people like them usually act—known as usage of trade

If a breach of contract has occurred, a remedy is how the court will solve the breach. The court may require specific performance—such as requiring you to finish the project. It may grant an injunction—such as preventing the client from using your work—and/or it may order the payment of damages.

DESIGN-RELATED CONTRACTS
For designers, certain types of contracts occur more frequently than others. The most common types of contracts include:

Confidentiality/nondisclosure agreements: These are usually signed in the first meeting with a new client in order to protect confidential information that may be disclosed about the client’s business.

Individual project agreements: These are detailed proposal documents from the design firm to the client that include a full set of legal terms and conditions.

Retainer agreements: These are common in PR and advertising, where a client agrees in advance to a certain level of monthly activity on their account.

Keep in mind that there’s a first-strike advantage in getting your draft document out there as the starting point for negotiations. It’s not a good idea to wait for the client to draft something—chances are that it will not be a good match to the issues involved in creative projects.

A USEFUL RESOURCE
AIGA, the professional association for designers, provides a useful resource to help designers prepare project agreements. It’s a sample contract called the Standard Form of Agreement for Design Services. It can be downloaded as a free PDF from www.aiga.org. By distributing recommended contract language, AIGA is influencing the usage of trade for the design community. Added weight comes from the fact that another leading organization, the Association of Professional Design Firms, has given its endorsement to the AIGA recommendations.


AIGA has published nine booklets so far in an ongoing series called “Design Business and Ethics.”

As you read online through the sample contract, you’ll see it’s composed of modules. The first two address general concerns that are shared by all design disciplines:

Basic terms and conditions: This first module covers issues such as payment terms, change orders, client approvals, project termination and responsibility for legal fees.

Intellectual property: This second module clarifies a range of intellectual property issues, including ownership and permitted usage of both industrial property and copyright.

Beyond these shared concerns, many other issues can come up that are quite particular to specific creative disciplines. For this reason, there are three additional modules to be used when the project involves print, interactive or environmental/3D design. The PDF includes an introduction explaining how the various modules should be used and clarifying the key legal concepts involved.

AIGA is in the process of developing additional resources and educational activities to help designers with business issues. The initiative will be called the Center for Practice Management. More information about it will be available in the months to come on AIGA’s website.

THE RIGHT LEVEL OF DETAIL
Because of the number of issues that need to be addressed, good design contracts are not particularly brief. Some designers are uncomfortable with this. Even though the work that we do as designers has become more complex in recent years, a nostalgic few are yearning for shorter contracts. This is not realistic. It reminds me of a quote from H.L. Mencken: “For every complex problem there is a simple solution … and it is wrong.” To cover all of the essential issues, the contract for a large project is going to be a long document. However, you do have the option of negotiating an underlying set of terms and conditions just once at the beginning of each new client relationship. Then you can just refer back to it for future projects.

THE GOAL
As a smart businessperson, your goal is to prevent problems before they occur. Many misunderstandings and difficulties can be easily avoided by getting your agreement in writing and making sure it includes terms and conditions appropriate to the services you’re providing.

SIDEBARS:

Recommended resources
www.uspto.gov

The U.S. Patent and Trademark Office website has detailed information on trademark basics.

www.copyright.gov
The official website of the U.S. Copyright Office: It has information circulars, FAQs, guidelines and forms for registering copyrights.

www.aiga.org/content.cfm/standard-agreement
AIGA, the professional association for design, publishes a Standard Form of Agreement for Design Services. The PDF can be downloaded for free.

http://gag.org/pegs/index.php
The Graphic Artists Guild Handbook: Pricing & Ethical Guidelines is a very useful reference on a variety of business issues.

www.allworth.com
Allworth Press publishes a wide range of books on business and legal issues for designers, including The Copyright Guide, by Lee Wilson, The Trademark Guide, by Lee Wilson, and The Patent Guide, by Carl Battle.

www.talentisnotenough.com
Shel Perkins’ book Talent Is Not Enough: Business Secrets For Designers (New Riders) has several chapters on legal and contract issues for designers.

www.elsevier.com
Content Rights for Creative Professionals: Copyrights & Trademarks in a Digital Age (Elsevier/Focal Press), by Arnold P. Lutzker, is a useful guide.

www.amazon.com
Electronic Highway Robbery: An Artist’s Guide to Copyrights in the Digital Era, by Mary E. Carter, was published by Peachpit Press in 1996. It’s now out of print, but it’s still a good resource. Used copies are available through Amazon.

Shel Perkins is a designer, educator and consultant to creative firms. His book ''Talent Is Not Enough: Business Secrets For Designers'' will be published in 2005 by New Riders. He can be reached at shel@shelperkins.com.
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