We caught up with socialite, “It boy” and all round Fashionisto Emmanuel Ray (www.socialite-evenings.com) to find out what he makes of the current state of the sector, and how those aspiring to a creative career can make a splash.

1 – What are your top tips for anyone thinking about going into the creative industries?

Unless your work takes off almost immediately or you come from a privileged background, the chances that you might struggle to make ends meet are highly likely! So don’t quit your day job. Or do something part time to get a regular income. The first step is the most difficult one to take.. as you might have to do a lot of things for free, to build up your portfolio. Networking is very important. Whether you’re an aspiring fashion designer, tortured artist, eccentric writer or fabulous presenter, you MUST network. It is definitely the way forward in this competitive business. Soon you’ll realise that Who you Know is as equally important as What You Know! Look at everything from a business angle and learn how to spot opportunities. If opportunities don’t come soon, create them and cash in! Cut costs by swapping favours. Get a team of young proactive people together. Never start seeking sponsorship or partners without a proper proposal that lists out everything you offer first. What you seek should be mentioned last, briefly.

2 – Is it important to take a degree in a creative subject still?

A degree does make potential employers take you seriously. But I don’t have one, nor do I have any formal training in tv, media, film etc. Look how far I’ve come, in a short time! My personal opinion is that one needs no degree in a creative subject. But there are many young people who would like to have a formal education whether it is fine art, design or journalism. They do teach you everything step by step and that can give you re assurance, stability and security – that you’re learning from the experts. It’s a personal choice. Degree or no degree, true talent always shines through. I am talking from my personal experience of course!

3 – How big a problem is unpaid work and low pay in your experience?

It’s a very BIG problem. Many young people are being taken advantage of in the creative businesses. They are asked to work for free and are being promised exposure. Many tell me they are not given travel money or food! Then to add insult to injury, when the project is publicised or complete, they have to chase those who hired them, to get pictures, copies and so on for their portfolios. I’ve personally got involved in other peoples problems because I hate watching anyone being used or abused. Perhaps that is why Hello Magazine’s Emily Johnston named me the God father of the fashion industry! That was funny… but speaking seriously, there should be a government legislation that prevents the abuse of creative people. Some universtities say they will only release their students to work on projects if they are paid minimum wage. But outside the universities, these guys and girls network and end up working for nothing. I’ve been asked to Present, Host events and Commentate for free, in return for exposure. They keep saying “you’ll get exposure!” And I say “I don’t need exposure! I need money. Will you work for a few hours for free?” Then they shut up and go elsewhere to find some other young person to trick into working for nothing, in return for nothing! The ugly truth is that in this business, there are many young talented people, desperate to get that 15 minutes in the lime light. They will gladly work for free, just to build their portfolios. But if they are given at least some money, it would make them feel their time is worth something. If you cannot pay them, at least offer something substantial in return.. copies of the work, publicity in press releases, products from the event, networking opportunities etc. Whether they are an intern or not, I do my best to pay them through the budget, when I hire them for events. I re imburse travel, offer them food and drink, give them publicity and exposure and also give them honorary membership at my business networkiing society. I would also urge those in the creative industries to be alert and not fall into traps. If you allow yourself to be taken advantange of, then that’s your stupidity!

4 – Is being successful in the creative industries a case of “who you know” not “what you know”?

It is both. Who you know can work for awhile. It worked for me when I started off as a Model at 15. But I soon realised that good looks and who you know can only work for some time. There’s a lot of hard work you need to put in, learn new things, carve a niche, be different, stand out etc. You also have to make some really tough choices. Once I had to choose between a a really good job, and a friendship. I chose the job. Once I ahd to do something I was not at all happy with, in order to get ahead. I did it! What you know is very improtant too. As a Fashion Commentator, I started in March 2009. I waqs unprofessional, turned up drunk at shoots, never practised my script etc. My then agent Simon Wilson from Express Broadcast told me to grow up and take charge of my career or it would be over soon. Whom I knew and who he knew helped my career a lot in the first 6 months. Then it was upto me to show them what I was capable of and withint he next 3-4 months I had to perfect my act and carve my niche. I did not want to fit it, I wanted to stand out… so with a lot of hard work and putting ideas together, I managed to merge my 3 careers: Fashion Commentator, Business Networker & Events Host – and become The Working Socialite. This covers a variety of other work too from art exhibitions to charity fund raisers. If I had not worked on my career and learned everything I know through trial and error, on the job, I would never have gotten this far. You wouldn’t know me so this interview wouldn’t be happening. My advice to everyone is network properly and use who you know to get ahead, but make sure you work at your craft as what you know is what keeps your career going in the long run. Who you know might also be able to help you learn what you would come to know later!

5 – Can creativity be a tool for breaking out of poverty or deprived areas?

Yes. It worked for me. In my case, I would put it down to luck, although I was passionate and very hard working. I started dance at the age of 6 and gave my first public performance. I continued as a Dancer and was spotted on the beach when I was 15, then became a model. I had never thought about modeling before then. Dance and Modeling continued and it certainly help tackle poverty. I was raised in a poor background without any luxuries, so when Modeling and Dance took me places, I also started working on fashion and beauty promotions, adding to my income. I also did some writing, presenting at shows etc. Creative people should see the business angle in their work and focus on making money. Commercial is the way to go. Once your settled and have some money coming in, then you can do things that feed your artistic interests. For me, it was very difficult at the beginning, to get paid work. Even now it is not easy and I am very selective about what projects I take on. Basically, if there is no money, I’m not interested. Mutually beneficial agreements, swapping favours and charity fund raising, social causes etc – all depend on what it brings. Will it be fruitful? What’s in it for me? Why would I do that? These are questions all creative professionals should ask themselves before saying YES to a job that does not bring in money. One needs to spot opportunities, or even create them in order to bring home the biryani!

6 – Is the UK still an international force to be reckoned with in creative terms?

Of course. You out of all people should know that! From my experience, the majority of creative people around the world; artists, entertainers, designers and so on – all want to come to the UK. We are living in this fabulous creative hub that is the UK, which is almost at the centre of the world, with connecting flights from many countries. This land is steeped in culture, history, art and heritage. It is also very multi cultural and welcoming. The UK is where my career took off. When I landed in Britain, the country embraced me with open toned arms! Various designers from the USA, East Europe, Africa, Asia and the Middle East are flocking to London to showcase their work. With some hard work put it, they can get a venue for free to host their fashion show or presentation. Runways are expensive to create. So designers in London are showcasing their collections on film. Scottish designer Henrietta Ludgate’s work was put on display on a film showing models dancing to ballet, with 60s music in the background. Turkish designer Omar Kashoura’s presentation of models dressed in clothing inspired by urban life, was presented to the audience at a bar/restaurant in the strand. Italian fashion designer Nico Didonna and Irish designer Orla Kiely do presentations and videos, creating a visual treat that prevents the audiences’ eyes from wandering. It is very focused and they have managed to master the art of the Visual Impact. Ginta Siceva jewllery and Nonya K scarves are other brands that are making the most of this creative platform we have in the UK. Many young designers from overseas who do not have the budget to fork out thousands of pounds, tell me that they find it is cheaper to do their shows and presentations in London. La Geneve North events host some great fashion shows for up & coming designers. I do the same for designers that approach me, if I have the time. The truth remains that great quality means money! No matter how much you collaborate or swap favours, money is what brings you the additional extras such as celebrity booking, a good film/video, and great people who would work for you. Students are great, but if you need someone experienced and professional, you’ve got to open that clutch purse! The UK was, is and will always be an international force that would both attract and influence creativity. From singers to designers, artists and painters, designers and performers – a lot of them approach us and ask us to help launch their careers in the UK.

7 – If you could give your younger self one piece of advice before you started on your journey what would it be?

Time does not wait for anyone, and nor should you! My father told me this and I did not listen. I only took it to hear properly after he passed away a year ago. We had a love/hate relationship and I was very nasty to my dad before I left Sri Lanka. I always thought there’d be tomorrow to apologise, kiss and make up. But it was too late. Whether it is a personal issue, a career step, an opportunity, partnership, a relationship or anything else – NEVER leave it for tomorrow and NEVER wait for anything that might hold you back. Time is precious, time is money. You only get one shot at this life so make the most of it, and move fast.. allowing yourself just about enough time to pause and enjoy the little pleasures of life like a bunch of roses, a baby’s smile or the swans in the lake. You can relax and do nothing once you’ve lived most of your life and want to do less and take a break. I wasted so many years of my life after the end of my modeling career, doing drugs, getting drunk, bed hopping and bar hopping. If I had taken my Dad’s advice, I would have achieved my goals earlier. But we all make mistakes. The best thing is to learn from them and never make those mistakes again. My friend Marcel Nagajek was another person who told me the same thing “Time will not wait for you so act, fast, sort your life out and work hard! You’re not getting any younger!” His encouragement made me think of what Daddy said and I took it to heart. Look at where I am now?

8 – How accurate is the portrayal of bitchy infighting in creative organisations and fashion shows by the media and films?

It is quite accurate. I have met people in the industry that resemble characters in these films and TV shows; the bitchy editor, the swollen headed designer, the drug addicted model, the nasty journalist, the overnight-sensation blogger who has his/her head stuck in the clouds, the back stabbers, the jealous crazy idiots who can’t stomach someone else’s success, the swindlers and con artists who ask for money but don’t deliver what they promise, the annoying nutters who want everything for free, the freeloaders and so on. Film, TV and the Media in general (also novels) reflect what goes on in real life. Yes, they are often exaggerated and sensationalised but isn’t that what happens anyway… in fashion, film and showbiz in general? It’s all good fun and I think those true to themselves and work with genuineness and passion… are much more at ease with themselves and don’t get their mini briefs into a twist over trivial nonsense! Also, in this business, one has to make very touch choices. And that is perfectly portrayed in movies such as The Devil Wears Prada and Confessions of a Shopaholic.

9 – How can UK creative graduates break into international markets?

People overseas have a certain awe and appreciation for graduates that are educated in London or Britain. Having a degree from a British University can get you a job in anywhere in the world.. although sometimes you need to compromise. When I was in Dubai, I saw hundreds of British graduates flocking to the Arabian Gulf for jobs that offered them better pay, perks, accommodation and food, and a tax free lifestyle. Of course, it is not all wine and roses. Most often, you are working for the rulers of the land and you don’t really have the freedom or rights you have in the UK, over there. Whether you’re a director, manager or a cleaner – you’re seen as an expat who’s there to earn a living and staff to the rulers. But this usually applies to careers that are more corporate. Creativity is seen as a form of expression and a unique talent in human beings. Artists from the west who have worked in the Middle East, Asia, Africa and the Americas, are often treated very well and gain appreciation. UK creative graduates should do their research and learn about world affairs and politics, as they influence lifestyles, trigger off changes in society and so on. Look, see and listen. Which world economies are growing at a rapid phase. Why are so many Indian investors entering the film scene in Britain and in the USA. Why are the Gulf Arabs buying large amounts of property in the UK? What is the next big thing in the Middle East? The silent revolution and changes in art and creativity in general, in East Asia. African brands slowly making their way into the corporate sector in the UK. All of these things are connected. For example, in Sri Lanka, I worked on a project that was supported by the Sri Lankan and Japanese goverments, strengthening ties between 2 nations. A lot of creative people got jobs and it worked well for most of us. Perhaps a UK creative graduate can spot an opportunity between the UK and another government overseas? Maybe it could become a project. Said graduate can ask for backing from both governments and also travel overseas. The project will be publicised on an international level by both governments, the media and so on. Cultural entrepreneur Pablo Ganguli made it work and hosts events world wide, helping and supporting various creative professionals. My advice would be is to come up with a unique idea. If you’re seeking employment in the creative sector overseas, then do some research. Get to know people in the UK that hail from the country you have your eyes set on. Learn something about their culture and ways of communication. Network and attend targeted events, get in touch with media professionals in those countries. Think about doing a project here focused on that country and involve people from both communities. Think outside the box. Creativity today is about The Here, The Now and The New. And finally, don’t be taken for a ride. Make sure you are absolutely sure you know what you’re getting yourself into and be aware of your rights. After all, you’re creative and that makes you special!

10 – What should the government be doing to help the UK creative sector flourish?

Not axing the UK film council would be a good start! I can’t believe they are event contemplating this. We see a lot of home grown talent such as Kat Deeley and Alexa Chung going to the USA. I recently met a British actress who now lives in LA and she keeps bad mouthing the UK scene all the time saying there is no work here and that everything is cheap and rubbish. Many film makers struggle to get funding for their films in the UK. Co productions between India, the USA and the UK are becoming more common, which is a good thing. Young up & coming British actresses like Lisa Lazarus and Amy Jackson have succeeded in getting work in India. This seems to be a sudden trend among British actresses. They all want to go to India as it is a tad easier than breaking into Hollywood. The Indian Film Festival at Riverside Studios was a great event but did not do much to bring together home grown talent with potential investors and backers from overseas. I personally think that there should be a government body that imposes strict guide lives for film, fashion and cultural events in the UK, so everyone involved would do their work properly and not slack. The government should also be able to set up a trust fund or something of that sort that draws a certain amount from tax and revenue, and also appeal to various artistocrats, celebrities and the rich and wealthy to contribute generously to this fund. The money should be used to support those in the creative sector that are struggling to make ends meet or have no means of showcasing their talent to the world. Applicants will be investigated and I think it is perfectly alright to hire a few experienced personnel to deal with this issue. Celebrate the multi culturalism in the creative sector in the UK and give support to both new and established creative professionals who need to take the first steps, get back on the ladder, or want that extra helping hand to achieve their goals and contribute to the creative industries in the UK. Find out those claiming benefits. If they’re are at least reasonably physically able and have at least some form of creative interest, get them to work on projects that benefit young people in the creative sectors. If they don’t have a creative interest, then let them work behind the scenes in admin. It is both irritating and infuriating to see benefit frauds, and those doing nothing (even when they have the ability to work) just sitting their wasting tax payers’ money, bragging about it in the press AND justifying their laziness with stupid excuses. Gather all of them up and make them work for the creative sectors. At least they’ll have a fun time rather than being stuck at home with their boring brood! I would like to set up an independent body that helps and supports those in the creative sectors. I’ve decided to take the first steps towards making this idea become a reality, once London Fashion Week is over and I’ve completed my projects for this year. The government should also involve people like me in a project like what I mentioned above. Those in the creative businesses who have had to struggle to get where we are now, have a better idea of what needs to be done and how we can tackle the lack of support, funding and facilities for young professionals in the creative sectors. An organisation that provides free catwalk spaces and facilities for up & coming talent in the fashion industry would be a great idea too. A central location in London, a generous amount of space and good lighting would be a dream come true for many an aspiring designer. We all wear clothes and shoes. Fashion is part of everyone’s life whether we like it or not. The British fashion industry is full of fabulous young talent. They the the passion, skills, creativity etc but what they need in order to succeed are resources, exposure and of course, money!

When he’s not occupying the pages and sofas of Fashion houses and chic bars, Emmanuel runs networking events via www.socialite-evenings.com. Watch this space for imminent coverage of their August event.

Picture 1: Emmanuel Ray wears Nico Didonna at the opening night gala of Indian Film Festival, Riverside Studios, London UK. Picture 2: Emmanuel Ray in Nico Didonna with designer & illustrator Rebecca Cumaraswamy. Indian Film Festival, Riverside Studios, London UK. Pictures 3 : Emmanuel Ray in Nico Didonna, at Oliver Dunsch exhibition at Fiumano Fine Art Gallery. Photo by Lai-Ha Mo @ Missy Mo Photography.

Fashion Presenter Emmanuel Ray is dressed by Nico Didonna. He is styled by Ejaz @ House of Christilano.

The Arts Group has sent the Europe Unit & European Commission its response to their request for suggestions on Unlocking the potential of cultural and creative industries.

The summit has be rearrange for July 1st/2nd at University of the Arts London.

Please visit our “National Summit” Pages for more details and to register.

Arts Group Chair, Kit Friend, appeared on the BBC last weekend to defend the rights of interns to proper pay and treatment, highlighting specifically the issues with equality and diversity that the current lack of enforcement encourages.

To see the Arts Group’s recommendations on internships read the Emerging Workers Report here

The competition will give applicants a platform for their work to be seen by influential figures from the art and design world, and the winning design will be made into a limited edition version of the Wattson, which will be stocked in Wattson’s retail outlets nationwide.

Green technology experts and independent design collective DIY Kyoto was established in 2005 by three RCA graduates: Greta Corke (Interaction Design), Jon Sawdon Smith (Industrial Design) and Richard Woods (Industrial Design). They presented the worldwide launch of their inaugural product at the Milan Salone del Mobile in 2006 and the first ever Wattson 01 previewed at the Milan Salone del Mobile 2007.

The Wattson is a designer energy monitor which has been proven to help households save up to 20% on their electricity bill, an average annual saving of approx. £280. It’s simple operation, smart design(“I Am Gorgeous” is his tagline), and renewable energy have garnered Wattson a huge amount of praise in the design and eco realms, helping people understand and control their personal impact on the environment.

The competition deadline is Friday 12 March find out more about how to enter here.

www.diykyoto.com

Pre-Registration is now open.

The National Arts Student Summit is open to all representative (from sabbatical officers to course reps) from creative subjects across the UK.

At the Summit you will have the opportunity to debate and discuss the development of Arts Education and Employment from Primary School to the Workplace.

For more information and to pre-register your delegates please click here 

Mr Clegg’s speech unfortunately seemed to plaguerise uncredited one of the best known speeches by Sir Ken Robinson but we’ll forgive him this one as it is very good. Perhaps more dubious was his claim the the Arts were ‘a duty’ for any government to support, which again probably had the right sentiments behind it, but could do with a little more work on if he wants to make it party mantra. For the record Nick we’d like to be seen as a strength, an opportunity, a vital contributor to society and at minimum a partner to Government and society – not something you’re obligated to look after.

The Arts team of Don Foster MP and Baronness Jane Bonham-Carter were on hand to introduce and speak to guests, and as usual did a fantastic job of raising the profile of creativity in government. Their approachability and willingness to except input from across the sector (including inviting the Arts Group to contribute to their policy discussions) should be welcomed, and even if we’re not going to see a Liberal government elected any time soon, it’s good to know people like them are on hand to put the pressure on with the other parties.

In terms of the actual content of the proposals, the Lib Dem press release has a capable summary of the highlights, including proposals to:

”

• Change the way the National Lottery is taxed to generate more money for arts and heritage as well as for the Treasury
• Provide support for new start-ups in the creative industries and enable more businesses to offer internships and apprenticeships
• Offer all our children a more creative education by freeing up the curriculum and increasing the amount of time trainee primary school teachers spend learning about the arts and creativity
• Make it easier for small venues to host live music events by reducing bureaucracy that restricts small venues
• Make sure the regions and cities outside London do not miss out by reviewing the Arts Council England’s funding structures and creating a new administrative status for national museums that will enable them to be more enterprising and independent
• Open up the Government Art Collection for greater public use “

The key points the Arts Group pushed in consultation were around our internships work and Further/Higher Education, which both have a mixed presence in the policy.

On internships…

“a new “Paid Internship” for the first year of the next parliament, enabling hundreds of thousands of young people to work for up to three months with any employer, without cost to the business. Each intern would be paid a new “Training Allowance” of £55 per week”

The Paid internship bit and supporting a scheme with little cost to employers is a good call, but £55 a week? Half of this would go on travel in London alone, and it falls dramatically short of National Minimum Wage. In fact, if the young people are ‘to work, and not in study, this is illegal even by current employment standards. Revise it to cover at least National Minimum Wage however, and this sounds like a great idea.

On further/higher education…

Development for either of these in a tangible sense is difficult to find from the policies, but there are some good statements…

“Creativity is undervalued in our education system. All too often cultural learning is seen as an ‘add-on’ while priority is given to what is measurable through exams and league tables. The Liberal Democrats will seek to change this perception and place creativity at the heart of our education system.

Similarly, creative skills have often been inadequately supported in our society. Government needs to offer more support to the creative industries to enable them to offer training opportunities through apprenticeships and internships and to foster greater levels of partnership working to share expertise.”

It’s nice to hear Skillset and other agencies also mentioned explicitly…

“We are fully supportive of the invaluable work being done by Skillset through their academies network and training programmes and advice. We will ensure that government structures and regulation don’t form a barrier to creative organisations working in partnership with higher education providers in setting up academies and training courses.”

FE & HE aren’t mentioned explicitly elsewhere, and our input to the policy to look at making Arts education at this level more accessable by making sure materials and associated costs of study were covered by student finance appear not to have made the cut. However we’ve invited the team to join us at the National Arts Student Summit so with any luck they can be challenged to make some pledges there.

The Pocket Light was stolen, produced and sold unlicensed under another brand. The original light-design had garnered much attention from the online community in 2008.
ORIGINAL POCKET LIGHT

COPY OF THE POCKET LIGHT

In many ways the Internet is a new medium when it comes to the management of intellectual property. Many designers are still struggling to reconcile its power of reach versus control of information flow. Here are some thoughts on managing creative content on the Internet.

1) Managing Expectations

Whenever a design is shown to the public there is a chance it could get ripped off. Design awards, graduation shows, public critiques, discussions with model makers, even obtaining costing for prototypes are all possible avenues where a design could get stolen.

The Internet is no different. In fact, because of the power of the Internet’s reach, the chance could be higher. However I do find it interesting that designers take more precautions showing work at graduation shows or manufacturers than on the Internet.

This being said, I have to say that the case of the copied Pocket Light happens rarely, especially if the stolen design was just a concept. The reason because the additional work required in taking a concept to an actual product requires far more effort than just coming up with an idea. In many cases it is very difficult to do if the designer that came up with the idea is not part of the development team.

That’s why people often tend to rip off finished products like LV bags or Vertu phones. All the hard work has already been done, all you need to do is just reverse engineer it. Oh, and there is that brand element as well.

So how or why did the Pocket Light get stolen? My guess is that it was “The Perfect Storm”. So happens that a manufacturer or a brand had access to all the right ingredients and be in a position to take up that idea and convert it quickly and easily into a product. In my opinion it was just sheer bad luck on the part of Ryan Harc.

2) So then why would anyone want to post his or her designs on the Internet?

There are actually a number of reasons, but the trick here is making sure you figure out “why?” before you do so.

The first and most common reason is credibility. Budding designers or design studios looking to make a name for themselves often share online self initiated design projects with the aim of getting their talent discovered.

If this were your objective, then getting a design copied would then fall in the realm of “imitation is the best form of flattery.” It is unfortunate, but consider milking it for all its worth.

The next reason designers publish designs online is that they are looking for a job. Most of the time these designs are portfolio work that have already been introduced in the market. However there are designers that would include personal design projects or submissions to design competitions hoping to show potential employers the breath of their talent.

The final last two reasons are closely link. That is, designers intending to sell a product or the rights to a design for production. If this is indeed your objective, you should ensure that you have taken the relevant intellectual property protection like patents or design registrations.

An important thing to note is that these 4 points are mutually exclusive. You cannot hope to “gain credibility” and also aim to “sell your design”. Both require different mindsets, and to combine the two is a recipe for disappointment.

3) So what can we do to protect ourselves?

I’m no expert on intellectual property, but by understand the gist of what it can do for you widens your options. Do research the details of Utility Patents, Design Registrations and Trademarks at your nearest Intellectual Property Office as soon as you can.

But for the purpose of this discussion, let us look at IP more from a strategic angle; is IP really needed for what you want to do?

An old employer of mine has this policy on patents. If an idea or invention could be licensed to another party for royalties, then it is worth taking the effort to get a patent. Why is this so? It makes perfect sense when you look at patents from a business point of view.

In certain cases the cost for a patent could come in at USD $30,000-50,000(for a worldwide coverage) or more. This does not include things like patent searches, legal fees and other incidentals. So if you look at it from an ROI (Return on Investment) perspective it just doesn’t not make sense. More so when you consider that most patents are applied on inventions before they are even launched or market proven.

I’m not saying don’t patent your idea. If you think you have a killer idea or invention, then you should really consider investing in a patent. The hard part is figuring out if the idea is really worth it.

Now this comes to the next part of the patent equation. Lets say you managed to pull together $30,000 and got yourself a patent. You now have peace of mind. You launch your product and it becomes a small success. The success is small enough that you don’t rest on your laurels but big enough for the rest of the world to take notice that it is now market proven. Soon cheap imitations start to flood the market while you are struggling to grow your business. The question now is do you have the financial muscle or just simply the willpower to enforce your patent?

Many inventors I have spoken to shared with me that patents are really just for a peace of mind. In certain cases they are useful, in other times, too much of a good thing. At the end of the day the decision is really yours but be aware of what it can do for you, and weigh the pros and cons of that hefty investment.

4) So what shall we do now?

Let me now share with you 4 suggestions on what I think designers can do, considering the landscape I have outlined above.

a) Share it, Get famous and Move on.
Most designers would fall under this category. So when you share designs, you do it to share and celebrate the cleverness of the idea. You may also do it for karma, and in the hope that by sharing, karma comes back to you as fame and maybe even fortune. But at the end of the day you are realistic, you expect nothing in return and quickly move on to the next big idea you come up with.

b) Make it, Share it, Sell it, and Get Out!
One thing about patents they never talk about is that it can be circumvented. There is no guarantee that someone will not takes your idea, modify it and sell it as a better alternative. So one way to play it is that if you think you have a good idea and want to capitalize on it; then a way to do it is to make your money and get out.

I planned my iPoor T-Shirt project with this strategy in mind. I knew the idea had merit, but with the product being a T-Shirt with a simple silkscreen graphic, I knew anyone could easily copy it. So I hatched a plan to make the iPoor T-Shirt in limited quantities and once it sold out, I’m out of the game. This strategy also forces you to ensure costs, margins and return on investment all work they way you want it.

c) Share it to Stake your Claim to the World.
I’m sure you can relate to my situation. I’m an employed designer, struggling to make ends meet, but I have ideas and some savings to invest in it. So how can I leverage on the power of the Internet to help me? I know I can’t afford a patent, so what do I do? I share it and stake my claim to the world, and if the design gets ripped off people will hopefully “do the right thing”.

My Spaces for Ideas Sketchbook is one such project, where by engaging my readers for feedback and getting them to be part of the development process, I hope to build a following of people that have a strong relationship with the product. Furthermore, by showing my process and prototype, there is no doubt as who came up with the idea first and when.

As a side note, the final design has not been revealed as it is in the process of getting a Design Registration. This is an alternative to a patent and not as expensive. Did I mention Google Design Registrations?

d) Go under the Radar
My last suggestion does depend on the nature of your product, design or invention. Akin to much of the things you will find on Etsy, going “under the radar” means you build a design so niche, unusual to make, or not inline to existing standard processes that it becomes difficult to copy.

Read the full original article here:

http://www.yankodesign.com/2010/01/22/how-to-manage-your-creative-work-and-intellectual-property-online/

Written by Brian Ling – a multidisciplinary industrial design leader that goes under the pseudonym of “The Design Translator”. He muses about the art of design leadership and the business of strategic industrial design over at his website Design Sojourn. He often laments the lack of good soy mochas and Italian pizzas (with Rocket and shredded Parma ham) in Asia.

Though there have been no major cuts to Arts Council funding just yet, the looming elections are likely to set a new tone.  Much has happened over the past two years to dramatically alter its budget.  In 2007, the Arts Council placed a large chunk of its funding towards the 2012 Olympics. Last year’s recession meant that public sectors faced major setbacks, and the profits made in the arts were significantly reduced.

This all sounds very gloomy, but is it really? The 2009 budget report in April announced it would cut £4 million out of the previous £467 million, decreasing the budget by less than 1%. The Department of Culture, Media and Sport, which, along with the Arts Lottery, funds the Arts Council has had its own cuts in 2010 of £20million. The Arts Council, therefore will only be bearing a fifth of DCMS’ losses.

Although these cuts are minimal, they do come as a great disappointment. Since 2002, the Arts Council has had yearly increase in funding. That year, a new spending plan was announced that would make the DCMS budget £257 million higher in 2005-06 than in 2002-03. Furthermore in 2007, the Arts Council was promised £20 million over the following three years.

As for prospective cuts, the Arts Council continues to point out that the revenue from the Arts sector is much higher than its spending. In July last year, MP Andy Burnham told the Stage: “the small – relatively small – amount of funding here, produces a huge benefit not [just] socially, educationally, culturally, but also economically.” Indeed, when Liverpool became Europe’s Capital of Culture in 2008, it generated £176 million from tourism alone and an £800 million boost to regional economy.

No doubt 2010 will see a decrease in Arts Council money. Can a new government change this? Or is it dictated by the recession? Predicting the former, Chief of the Arts Council Alan Davey met with the Conservative Party last October to discuss the importance of funding. Like Burnham, he argued that arts revenue was beneficial to the economy. On the opposite side of the spectrum were the conclusions reached at the Funding Transition conference hosted by arts think tank Missions Models Money in December.  Chair of the meeting Clara Miller, CEO of Non-profits Finance Fund, argued that it is the way arts businesses are run that needs to change, rather than government revenue. Can art businesses, as Clara Miller suggests, overcome financial struggle by remodelling?  These are questions organisations, as well as art students and artists, will have to face as we draw closer to a new government and a revision of this year’s budgets.

Words by Lemma Shehadi

The Guardian has coverage of announcements from Shadow culture secretary Jerermy Hunt indicating what a Conservative victory at the general election could mean for the shape of the Arts. Contrary to claims (last year at the launch of the National Campaign for the Arts Manifesto launch) by Ed Vaizey, Shadow Minister for Culture, it appears our sector may also be subject to cuts in funding in response to dwindling public finances.

The coverage is led by the Tory aspiration to enter into a “Golden Age” for the Arts, through encouraging the emergence of a culture of philanthropy equivalent to our American equivalents. This would seem to set us up for tax-related benefits  as well as other measures recommended by Sir John Tusa’s Arts Task Force in their report (see www.artstaskforce.co.uk ). Whilst undoubtebly a good ideal, this is largely unproven in the UK as a model, and would be a massive step to take from recent year’s reliance of much of the Arts on public subsidy. Whether this would be a phased movement, looking to replace public with private funding is not made clear, though as journalist Polly Toynbee commented at the Bright Blue event in Portcullus House this week – cuts are seldom able to be able to be carried out in the the surgical manner that might be desired to produce the “leaner” organizations Hunt perhaps rightly espouses.

Singled out for criticism by Tory policy is the proportion of state funding that goes on the administration of the Arts grant distributors, with organizations including the Heritage Lottery Fund and Arts Council England spending more than 10% of their income in this way. The Arts Council is restructuring to reduce this, but the premise does call in to question the balance of spending across other similar bodies.

The Conservative policy of returning more lottery funding to the Arts is re-emphasised, as is a committment to championing excellence in the arts (perhaps responding to much of the criticism levelled at public art initiatives’ over-emphasis of diversity and localism over quality of practice).

And last but not least, we are assured that free museum entry “is here to stay under a Conservative government”.

Following a warm reception for the Liberal Democrats, who invited us to input on their own Arts Policy, the Arts Group is continuing to speak to the Shadow DCMS team around issues relating to internships and STEM funding following discussions at the Conservative Conservative Arts and Creative Industries Network and other events with Shadow Arts Minister Ed Vaizey. Watch this space for formal responses!

The Guardian article is here: http://www.guardian.co.uk/culture/2010/jan/1Following a warm reception from the Conservatives, who have invited us to their network events, and the Liberal Democrats, who invited us to input on their own Arts Policy, the Arts Group is continuing to speak to the Shadow DCMS team around issues relating to internships and STEM funding. Watch this space for formal responses!4/arts-funding-cuts-proposed-conservatives