12 January 2024
As we embark on another exciting year at the Business & IP Centre, we are looking back at just some of the highlights from 2023, both for the Centre and among our network of users, supporters and partners. From the launch of our Democratising Entrepreneurship 2.0 report to the opening of more BIPCs across the UK, it certainly was a busy year!
The London Network continues to grow
January saw the launch of Start Up Wandsworth in York Gardens Library, who also opened another business hub in Putney Library later on in the year. This is part of our BIPC local offering that brings our business support services to the heart of five London boroughs, also including Bromley, Greenwich, Lewisham and Waltham Forest.
Start-Up Day never goes out of style
Start-Up Day returned in February with events taking place across the National Network. This jam-packed day consisted of speed-mentoring, informative talks, free IP support and networking opportunities aimed at helping creative businesses thrive in the arts and culture sector. We finished off the day with our Inspiring Entrepreneurs - The Changing Face of Fashion event at the British Library, in which a panel of industry experts, including Patrick Grant, discussed the latest trends in the fast-paced fashion industry.
Kickstart Your Business is born
In February we also launched Kickstart Your Business, our programme designed to deliver grass roots business support and expert advice in libraries across London through two-days of free workshops, supported by JP Morgan. We delivered over 30 workshops in 2023, and we look forward to continue to support entrepreneurs across the capital this year.
Championing women in business
We celebrated International Women's Day in March across our network of libraries. BIPC Devon launched their 12-week Women in Business programme, delivered by Devon-based Business Women to empower others to realise their full potential and pursue their dream careers. Our Inspiring Entrepreneurs - Disruptors and Influencers event took place at the British Library and focused on the 2023 Women's Month theme of Embracing Equity; topics discussed included shifting the image of women in business, and how we can best embrace and encourage diversity and inclusion in business for colleagues and peers from marginalised communities.
Success for the National Network
In April several of our National Network BIPCs, made up of 22 regional and 90 local BIPCs across the UK, secured additional funding from UKSPF, ensuring they continue to be a vibrant hub of support to small businesses until March 2025. Entrepreneurs and innovators in various regions can count on continued access to resources, expertise, and opportunities provided by their local BIPC, find yours.
Serving up more events
Our Inspiring Entrepreneurs - The Business of Food: From Farm to Fork event took place in May, as part of the British Library’s Food Season celebrations. We were joined by culinary experts Wilfred Emmanuel-Jones MBE, The Black Farmer, and Thomasina Miers OBE, founder of Wahaca, who discussed emerging trends in the food industry, the changing image of food on the high street and the ways we can be more sustainable with our food choices.
Honouring women's enterprise
We held an event in June to honour National Women's Enterprise Week, led by our ambassador Alison Cork. The panel discussion featured four exceptional women we have supported throughout their entrepreneurial journey - Cultureville, #ChalkandBlade, Pageful Productions and Skin Solace. They shared their first-hand experiences, discussing the realities, benefits, and challenges of being women in business and provided invaluable insights to empower other women navigating similar journeys. We are immensely proud to have supported not only these extraordinary women but also over 92,000 individuals since 2020. Among them, 63% are women, 32% of whom were from a Black, Asian and ethnic minority and 13% disabled - reflecting our commitment to fostering gender equality in entrepreneurship.
July gave us lots to celebrate as the British Library turned 50, and we launched our independent Democratising Entrepreneurship 2.0 report at the House of Lords. The report shows that Department for Culture, Media and Sport funding between April 2020 and March 2023 has helped grow our Network from 13 to over 100 libraries.
Art meets business
BIPC Liverpool City Region teamed up with Liverpool Art Fair throughout the summer in support of businesses in the art industry, in which they held Entrepreneur in Residence Clinics and hosted a number of events which gave support and advice to artists and others in creative industries. The 6-week exhibition culminated with an interview with BBC Radio Merseyside’s Claire Hamilton and Faith Bebbington, nationally renowned sculptor who is living with cerebral palsy and has survived cancer. She has since become a BIPC Liverpool client, and we have provided her with one-to-one support on her legal contracts and marketing.
Our BIPC local turns one
September marked the 1st anniversary of our BIPC local in Lewisham. To celebrate we ran an out of home awareness campaign, supported by Lewisham Council, with over 50 outdoor placements to promote the BIPC services in Lewisham. We also published this blog where we caught up with our Lewisham business ambassadors and heard about their journey with us.
Black History Month celebrations
To celebrate Black History Month in October we hosted our seventh Inspiring Entrepreneurs event of the year: Saluting our Sisters, honouring Black women in business. Our panel of visionary women shared their journeys to success, how they overcame challenges and discussed the evolving business landscape. We ended the evening with a fireside chat with Sabrina Dhowre Elba, CEO, Model and Activist.
The National Network expands
In November BIPC Nottinghamshire opened a business hub in Nottingham Central Library, and enjoyed a launch event to celebrate their new space. Our interactive map also went live this month, which allows users around the UK to locate their nearest BIPC: you can find yours here.
Throughout November and December we ran a large scale out of home campaign in London to promote our overall BIPC services at the British Library and the Kickstart Your Business workshops taking place in our London Network libraries. This involved advertisement at bus stops, underground and rail stations, and other outdoor placements across the capital.
Wrapping up the year
We ended the year on a festive high with Winter Markets taking place in some of our libraries around the UK. This featured local businesses coming together to showcase and sell their products just in time for Christmas. We also curated our annual BIPC Festive Gift Guide, sharing gift ideas from small businesses around the UK who have used BIPC services.
22 August 2023
Sir Isaac Newton, once said, “If I have seen further, it is by standing on the shoulders of giants.” A few generations after, the Newtonian revolution in physics along with other discoveries of the time heralded in a new age of innovation, engineering and industry. Patents are the primary records of that step process in innovation. They’re a fascinating and invaluable ‘time capsule’ of brilliance (and occasional eccentricity).
Today, the British Library’s historical patent collection has become a world leading collection of historical IP documentation; not only from the UK, but from over 150 countries worldwide. No other collection at the Library captures better the progress of technology and commerce from the early 17th century to the present day.
And now, the British Library’s Business & IP Centre also sits on the shoulders of this gigantic treasure trove of patent, design and trademark information. In fact, it’s almost 170 years since it was first made available to the general public as the Library of the newly formed Patent Office. It really is a library within a library. The history and development of the collection offers us an intriguing insight into how much this information was prioritised managed valued, for researchers then as it is now. One report, by the US Commissioner of Patents in the 1860s described it as a ‘technological library unequalled by anything in America’.
I believe it still is.
Why a patent library?
From a practical point of view, a patent library is an essential part of being able to find (and provide evidence) that a new patent application is indeed an innovative step on what’s preceded it. One can view the history of these patents almost like a family tree of technical steps and developments, each building on the other.
Hot off the heels of the Patent Law Amendment Act of 1852, establishing what we know as the Patent Office (the Intellectual Property Office today), came the Patent Office Library. It opened on the 5th March, 1855. Its formal title was ‘The Library of the Great Seal Patent Office’. To be clear, there were patents and records of them before 1852, managed by Court of Chancery, but the nucleus of the library were 388 books from Bennet Woodcroft, the Superintendent of Specifications and Indexes, and 707 books from Richard Prosser, an engineer closely associated with the Act.
The site was on 25 Southampton Buildings, off Chancery Lane. A site it would occupy in various forms and alterations until the 1990s. In 1891, due in part to an increase in the number of visitors to the Library, plans were drawn up to rebuild the entire site. This was undertaken in stages between 1893 and 1912, with the Library moving to temporary accommodation in 1898. A full library service was maintained during this time. The new Patent Office Library was designed in the cathedral style of library architecture by Sir John Taylor.
War and Post-war
The Library continued to offer reading room services during the First World War, albeit with reduced hours and staffing levels. Visitor numbers predictably fell. And with the later onset of the Second World War, the library experienced a few near misses from incendiary bombs and a V1 flying bomb in 1944.
All during the war years, the need for a comprehensive scientific and technological network in the UK was apparent. And post-war, while widespread support was seen for a national library of science and technology, there was considerable debate on whether the British Museum or the Patent Office collections would form the basis of the new library. The debate was settled in 1959, when a Working Party on the issue recommended the new library should be based on both collections, and put under the control of the British Museum Trustees. And this, in hindsight, was what took it a step closer to the custodianship we have today.
In April 1966, the Patent Office Library formally transferred from the control of the Board of trade to the British Museum and became the National Reference Library of Science and Invention, (NRLSI Holborn division). In the late 1960s it was decided that there was a need to create better links between the UK’s major lending and reference libraries. To that end, the National Libraries Committee was formed in 1967, which recommend the creation of a national library system in 1969.
The British Library is founded
And so, the British Library was created on the 1st July 1973 as a result of the British Library Act which was enacted in 1972. Under the Act the following institutions were administratively combined to form the British Library: the library departments of the British Museum (including the NRLSI), the National Central Library, and the National Lending Library for Science and Technology.
The NRLSI was renamed the Science Reference Library upon joining the British Library and then in 1985 it was restructured to become the reference arm of the Science Technology and Industry Division (being renamed the Science Reference and Information Service (SRIS) in the process).
The next most significant turning point was the opening of the St Pancras site of the British Library and the rehousing of the patent collection. The collection had its own floor (level 2 where the Newsroom currently is). But it wasn’t until 2006 that the Business & IP Centre as we know it today was formally opened. It was a unique opportunity to merge two distinct, but related collections; business & intellectual property under one umbrella. And so came a physical alteration to the space that included meeting rooms and the well-used networking area space.
All this was with an aim to offer a comprehensive range of resources, workshops events and services to support small businesses from the first spark of inspiration to forming and growing their business. Inspired by how the New York Public utilised its Science, Industry and Business collection it was a model that resembles how the Centre operates today at the British Library and now across a national network of over 20 Business & IP Centres.
But today, there is a very special merger that’s not only about business and intellectual property. It’s connecting the past with the present. Our current intellectual property advice and expertise would likely not exist were it not for the historic patent collection. So as we look ahead to what a tumultuous 21st century could bring, it’s somehow reassuring that the firm anchor of the past will continue to guide the innovators, problem solvers and entrepreneurs of the future.
Co-written by Jeremy O’Hare Research and Business Development Manager at the BIPC and Steven Campion, Subject Librarian at the British Library
17 August 2023
Did you know that the British Library is home to over 200 million collection items? Occupying over 746km of total shelving, growing an extra 8km every year, our St Pancras site houses inventions that date back thousands of years, as well as new technology from our digital age.
To continue our celebrations for the British Library's 50th anniversary, we asked our BIPC team what their favourite facts about the Library are, as well as their favourite inventions.
Here's what they came up with:
- ‘My favourite fact about the British Library is that it’s an unusual and uniquely built building that resembles a ship. Prior to becoming an architect, Colin St John Wilson was a naval lieutenant... This now makes sense!’ - Meron, Reference Specialist
- 'My favourite invention is the Starship delivery robots in Milton Keynes. I love the innovative solution for local deliveries. They are completely autonomous and the robots can sense when they need to move out of the way. Since they can deliver a small grocery shop, it’s a great solution particularly for people less able to leave their homes. Also, they’re surprisingly cute!' - Claire, Head of Reference Services
- 'I find it amazing that as you walk through the British Library there are four levels of football pitch sized floors of information beneath your feet; the lowest basement sitting beneath the Piccadilly line. I find the historical patent collection just an endless treasure trove of incredible inventions that have changed what is even possible. My favourites are the aviation patents. The Wright Brother’s and Frank Whittle’s aviation patents. Like so many of us, I took one of these ‘flying machines’ to go on holiday somewhere warm and didn’t even consider the marvel of it.' - Jeremy, Research & Business Development Manager
- 'I have thick and often unruly hair and couldn’t live without my trusty Tangle Teezer™. Shaun Pulfrey, inventor and founder of the eponymous company, came to the Business & IP Centre when it had recently opened to see if he could protect his innovative design and now, over 15 years later, he has patented the brush in over 30 countries. Each brush design is also protected by design rights and the name Tangle Teezer™ is also protected as a trade mark. Shaun also took part in our scale-up programme, now called Get Ready for Business Growth in 2014-15 and in 2021 he hit revenues of £43.5 million and sold a majority stake to Mayfair Equity Partners for around £70 million. This is an incredible achievement by Shaun and his team and we like to think that we made a positive contribution to their successful business journey.' - Isabel, Head of Business Audiences
- 'Apart from the amazing free business support the BIPC National Network provides, the most impressive aspect is its geographical spread. It would take just over six days and 458 grueling miles to walk from the most southern point of the BIPC National Network (BIPC Devon Local in Paignton) to its most northern point (BIPC Glasgow in the Mitchell Library).' - Billy, Project Administrator
- 'My favourite invention is the printing press. The democratisation of text ushered in the second information age in Europe by allowing for the mechanical mass production of books and broadsheets. With greater demand for written materials, the invention also fostered translations of popular texts that could be disseminated to the public rather than remaining within the church or royal courts. The British Library’s Treasures exhibit displays one of Gutenberg’s bibles, the first book printed with moveable type in Western Europe, as well as a copy of Chaucer’s Canterbury Tales printed by William Caxton, the first book printer in England.' - Amy, Growth Programme Service Liaison Manager
- 'My favourite invention would have to be either the Printing Press, or the Electric Guitar!' - Simon, MI and Project Coordinator
- ‘If you see five items each day, it would take you over 80,000 years to see the whole of the Library's collection.’ - Jordan, BIPC Workshop and Events Administrator
- ‘Our science blog recently posted some interesting facts about the hidden 'wild' features of the British Library: "the British Library hosts a permanent show of animal fossils, hiding in plain sight. As you cross the Piazza on a visit to the Library you tread on limestone, formed in the early Cretaceous period (145 and 100 million years ago - Ma) in a warm, shallow sea, teeming with life. You can also find fossilised sea sponge outside the Conference Centre, as well as calcareous algal pellets and various fossil shells on the floors inside the British Library".' - Alyssa, Project Coordinator
- ‘The British Library collects words, written and spoken. Its sound archives collect oral history to bring back stories and accounts, like for the BBC programme Aids: The Unheard Tapes. I felt proud of the British Library’s contribution to the programme, which brought personal stories back to life, turning the programme into compelling viewing.’ - Elisabetta, Project Administrator
25 January 2023
The anonymous street artist, Banksy is no stranger to intellectual property (IP) controversy.
A recent spat with high street clothing retailer Guess over the use of a Banksy work, Flower Thrower, in their shop window has erupted into another round of IP battles between Banksy and others who use his/her work. The allegation is that the image was used without permission.
And that’s just the point. Banksy, being an anti-establishment artist, will always experience some tension between working within the ‘IP system’, to enforce creative and commercial rights as an artist. Not to mention associated moral rights too.
But on that front, I believe Banksy has had some success. And I would wish any artist or creative can enjoy that too for their own work. But in Banksy’s case, there are some unique lessons.
The story of Banksy’s relationship to IP is not unlike a Matryoshka Doll. There are hidden complexities within hidden complexities nested within the hidden artist whose power and intrigue rests on mystery, surprise and subversion.
No wonder it can be hard to put Banksy into a neat category of a recognised artist commercialising their work.
So just how is Banksy different? And what’s Banksy doing to shake things up in the ordinarily suited and booted world of IP regulation?
Subverting while using the IP system
I liken Intellectual Property to an umbrella term to describe a family of different rights that protect the work of creators and inventors. The different members of the family protect different expressions and for street artists that will mostly be copyright. For a business’ product and service brands, there are trademarks.
An artist may branch out into creating products that are manufactured, such as printed T-shirts or other merchandise that carry a distinctive appearance. And for that that there’s registered design.
Banksy, is correctly using as many different forms of IP as he can to maximise protection of his work (we’ll come on to his use of trademarks as a strategy).
In our workshop and webinar, Introduction to Intellectual Property, we emphasise how each of these ‘members of the family’ can be deployed to maximise the defence and use of your creations. While there are distinctions and differences between them, all could potentially be of use.
So how is Banksy doing it and what’s different?
“Are you a company looking to licence Banksy art for commercial use? Then you’ve come to the right place – you can’t. Only Pest Control Office have permission to use or license my artwork. If someone else has granted you permission, you don’t have permission. I wrote ‘copyright is for losers’ in my (copyrighted) book and still encourage anybody to take and amend my art for their own personal amusement, but not for profit or making it look like I've endorsed something when I haven’t. Thanks.”
The case of Guess
In the dispute with retailer Guess, Banksy was asserting his rights as the copyright holder around usage. Anyone who creates an original work (be it artistic, musical, recording or even software) can assert the same rights. The hard job is often to enforce those rights.
Banksy, did that in his own inimitable way. He claimed usage of Flower Thrower was essentially theft and encouraged a similar response in an outraged Instagram post; “They’ve helped themselves to my artwork without asking, how can it be wrong for you to do the same to them?”
Just to be clear, there is a difference between civil law and criminal law (IP the former, shop lifting the latter) but perhaps from the point of view of the creator who’s had their work used, it can feel the same.
Guess, for obvious reasons, removed the image from their store front.
But then there’s another mystery, nested within the same matryoska doll.
Guess are selling a range of clothing in collaboration with Brandalised who license images by graffiti artists, among them it appears, Banksy. Was there some deal done in private with a third party like Brandalised to allow limited usage?
We may never know and we don’t have to know. Again, the rights holders can use the work as they see fit in public or private. Which again, serves to illustrate how they should be able to retain the upper hand. It is their property, after all.
But what happens when the copyright owner wishes to remain anonymous, like Banksy does? Because to enforce your rights, you have to identify yourself as ‘the author’ or creator.
How can someone who remains anonymous do just that?
Subverting trademarks for a purpose
That is why, some have speculated, Banksy took an interest in filing some of his images as trademarks. Introducing now another Banksy work, Laugh Now, after the image of a monkey holding a placard stating ‘laugh now, but one day we’ll be in charge’.
Which is why a trademark in Banksy’s case might have appeal.
But not only that, a trademark in theory can last forever, so long as it’s being used and renewed every ten years by an individual or company who owns it.
This particular application was met with opposition, however. A company objected to the application on the grounds it was filed ‘in bad faith’ in order to avoid the standard copyright requirements of establishing ‘an author’ and that there was no intention to commercially use the mark.
After an initial rejection at the EUIPO trademark Cancellation Division, it was overturned by the Board of Appeal (Case R 1246/2021-5) on the grounds that, ‘the relief from not being required to reveal his identity does not exclude the intention to use the trade mark.’ And, ‘it may not be extrapolated or concluded that Banksy will use the system of trade mark protection as mere substitute of copyright in an unlawful manner. It may neither be concluded that the proprietor has in general a negative view on Intellectual Property Rights which would lead to a filing of a trade mark without any intention to use it’
One – nil to Banksy.
What does this serve to prove?
Making the system work for you
Owning one or more form of intellectual property is on the one hand just good sense, while understanding your rights to usage is another. You don’t necessarily have to have a commercial purpose to still benefit from IP protection, especially if you want to retain rights over how your creations are used. Like Banksy, look at the different options and make it clear what you own and the value you place on it.
Especially those in any creative industry. You don’t need to even be subversive or anonymous, like Banksy. Any creative business or individual should be prepared if they ever have to have their own IP battles.
And with Banksy, at least, he’s doing it in his own style.
Written by Jeremy O'Hare, intellectual property information expert at the BIPC.
26 September 2022
In the spirit of London Fashion Week, I thought I’d dedicate this blog post to looking at the early history of the sewing machine – the tool that made the mass production of clothing possible. It is also a good example of a machine which no one can quite agree on who the inventor was.
If I describe something first, have I invented it? How detailed does my description need to be? Do I need a working model to prove my invention works? Are my ideas similar to a future proven solution? Do I need a patent?
How you answer questions such as these will likely determine who you think the true inventor of the sewing machine is. So rather than tell you who I think it is, I have instead highlighted some influential early patents from within our historical IP collection so you can decide for yourself.
Focusing on patents (should) allow us to check something is new, or at least involves an inventive step. Like any invention, it is very possible that others created sewing machines similar to those described below first, but for whatever reason did not apply for a patent. Something we will briefly explore later.
GB 701 of 1755
In 1755, Charles Fredrick Wiesenthal, a German born physician based in London, received a patent for a ‘needle for ornamenting fabrics’. The needle had a point at either end, meaning it could pass through fabric without needing to be turned. Some commentators have said the movement of the needle was via mechanical means, but the description goes into little detail.
GB 1,764 of 1790
In 1790, an English cabinet maker by the name of Thomas Saint was granted a patent for five types of varnishes and their uses, a machine for ‘spinning, twisting, and doubling the thread’, a machine for ‘stitching, quilting, or sewing’, and a machine for ‘platting or weaving’.
It is of course the machine for ‘stitching, quilting, or sewing’ that is of interest to this blog post, however it was somewhat lost in the busyness of the patent. So much so that when the Patent Office republished older patents and arranged them into new classes, it was placed into ‘wearing apparel’ rather than ‘sewing and embroidering’. It is safe to say Saint’s sewing machine was all but forgotten.
That is until 1874, when a sewing machine manufacturer called William Newton Wilson found the patent while undertaking research at the Patent Office. He had the sewing machine built and, after some adjustments to the looper, was able to prove it worked.
The machine incorporated many features still to be found on modern machines (as well as in later patents), such as an overhanging arm, a vertical needle-bar, and a feed system for the fabric.
The machine Newton Wilson built can now be seen at the Science Museum.
Fr 616 of 1804
In 1804, Thomas Stone and James Henderson received a French patent for their sewing machine, which passed a hand sewing needle back and forth through the fabric using a pair of pincers at either side (imitating the action of human fingers). It unfortunately required frequent stops in order to replace the short length of thread it used.
Austrian Exclusive Privilege in 1814
In 1814, Josef Madersperger, an Austrian tailor, received the early Austrian equivalent of a patent for his sewing machine. It used a double pointed needle (like Wiesenthal’s) and replicated as best it could hand sewing. In 1839, Madersperger received another patent equivalent for a machine that used an eye-pointed needle.
Neither machine was ever made publically available and Madersperger would unfortunately die destitute in an Viennese almshouse in 1850. In 1933 a memorial was erected in Resselpark in Vienna, declaring Madersperger the inventor of the sewing machine.
FR 7434 of 1830
In 1830, a French tailor called Barthélemy Thimonnier received a French patent for his sewing machine which used a hooked needle to replicate hand sewing. The same year Thimonnier found himself overseeing 80 of his machines in a Paris workshop making uniforms for the French Army.
Unfortunately the success was not to last, as in 1831 all 80 machines were destroyed by a mob of angry tailors, fearful his invention was a danger to their livelihoods. Although later patents followed, Thimonnier never found further success and died in poverty at the age of 63.
One of Thimonnier’s 1830 sewing machines can also be seen at the Science Museum.
GB 10,424 of 1844
In 1844, John Fisher and James Gibbons received a patent for, among other things, a machine for ornamenting lace. While not originally intended to be a sewing machine, it nevertheless was able to function as one, and used both an eye-pointed needle and a shuttle – both still in use on machines today.
US 4,750 of 1846
In 1846, Elias Howe Jr. was granted a patent for his sewing machine which used a lockstitch design (the most common mechanical stitch made by a sewing machine today, which uses two threads that ‘lock’ together). Unfortunately Howe struggled to find financial backing for his machine, and so was forced to take a job in London modifying one of his sewing machines for a buyer there.
When Howe eventually returned to America he discovered sewing machines were being sold that appeared to infringe his patent. One such sewing machine was the work of an Isaac Merritt Singer – a man whose surname would soon become synonymous with the sewing machine.
Howe sued Singer for patent infringement and won. Many more legal battles would ensue between the main sewing machine inventors and manufacturers before they would decide to come together to form the first ‘patent pool’ (and the Sewing Machine Combination) in 1856.
With my earlier disclaimer in mind, it’s worth briefly looking at an inventor who never took out a patent – a man by the name of Walter Hunt. Howe’s sewing machine is often credited as being the first to sew a lockstitch, however Hunt invented a sewing machine that did so 13 years earlier in 1833. Not wanting to put seamstresses out of work, Hunt never applied for a patent, but his machine came to light during the patent trials.
Hunt can therefore be called the inventor of the lockstitch, however Howe had the patent for it. Earning him $5 for every sewing machine sold in America. Howe soon became a very rich man.
So that was a very condensed account of the early history of the sewing machine. Several less important patents were skipped in the name of brevity, and many of the inventions that were included could have filled a blog post many times longer than this one alone. If you would like to know more then please do come in to the library to read further.
Hopefully you now have a better idea of who you think invented the sewing machine, or maybe you feel it was actually the accumulative work of many.
Steven Campion, Business & IP Centre intellectual property expert.
21 September 2022
Our obsession with one metal has inspired some of the greatest art and creativity in history. Why are we so enamoured with it?
Gold is rare, malleable, remoulded and reinvented into countless forms, throughout many different cultures and civilisations. It is also incredibly beautiful.
We extract it from the earth to form objects that are coveted and often become more valuable over time until they become treasures. This process inspires great innovation and creativity. All in the pursuit of one, precious metal.
The British Library’s Gold exhibition showcases its own collection of golden treasures. On display are manuscripts, treaties and book covers of varying ages and from different places, cultures and civilisations from all over the world.
Here we see how this valuable commodity, when combined with innovation, creates new objects that can be protected, valued and resold. As we’ll discover, it’s a kind of intellectual property alchemy.
Innovation to extract beauty
Over the centuries there have been various places where people have literally, ‘struck gold’. These have become renowned; from the ancient mines of Egypt, India and Anatolia to parts of Europe, where explorers obsessed over a mythical place in the new world called El Dorado, the city of gold. More recently, it is the 19th century that springs to mind, with its gold rushes in Australia, New Zealand and North America as well as Canada’s famous Klondike gold rush in the Yukon province, immortalised in novels and film.
Each gold rush generated new migrations, economic development and new technology. It’s here that the patent system gives an interesting snapshot into what was going on technologically as speculators were investing in sophisticated ways to extract more and more from the same mine.
A patent is an intellectual property right that will protect new and original inventions and processes. The British patent GB1853 no.997, Apparatus for Washing Earths containing Gold, is one such example. Here, two mining engineers from France sought protection for a new technique to ‘dredge’ and ‘wash’ earth and materials derived from rivers to extract more gold. We can see an illustration of how their patent worked in practice here:
Innovation in transformation
Once sufficient quantities of gold are gathered, they can then be transformed into objects of various kinds. How the gold is used has inspired many different techniques over time that have lasted through to today. The use of gold leaf is over 5,000 years old. Ancient Egyptians developed techniques to hammer gold into a thin layer, which created just the same appearance as the solid material but with a more economical use.
Gold leaf can also be finely ground into gold paint combined with a pigment to create ‘shell gold’. Again, another economical use of gold which means that the gold, in its leaf and shell forms, can be used in as varied works as wooden sculptures to gilded porcelain to illustrated manuscripts; such as the British Library’s Harley Gospels.
But the value is not just in the commodity, it’s in the artistic creation. Many jewellers have registered designs for unique pieces made of gold and other precious metals. A well-known brand like Bulgari have a number of watches registered as a design, presumably as they are unique signature pieces of great value to the brand and its design heritage. Here is one such UK registered design:
Main illustration for design number 80800720005000
Registered design is an intellectual property right that gives companies or individuals the right to protect the appearance of a product, such as its shape or pattern. These are ordinarily for more than one piece that is in production.
But what about one of a kind creations using gold? Can they also acquire extra protection and value?
The golden rule of copyright
Each of the works on display in the Gold exhibition is a unique work of craftsmanship and art. Among the most modern is an Art Deco binding by Pierre-Émile Legrain (1889– 1929) of Colette’s La Vagabonde Paris, 1927. Like nearly all of Legrain’s work, they are one-off, original creations and so are automatically protected by copyright at the time of creation. You can call it the golden rule of copyright: if you create an original work it’s automatically yours to own (or sell). However, as Legrain died over 70 years ago, his work is now in the public domain so can be copied and reused. However, this doesn’t lessen the value of his originals, which sell at impressive prices at auction due to their recognised skill and scarcity.
All that glitters isn’t exactly gold
Gold is so valuable and treasured that anything associated with gold, almost unconsciously takes on this value, conveying a meaning that taps into our shared cultural experience and memory. This is where the modern world of branding has lifted this golden association and taken it into new places, in every kind of trade conceivable!
What do you think of, when you hear ‘golden arches’?
A search on existing registered trade marks is a fascinating look at how everybody wants to be associated with all that’s golden. There are over 1,000 trade marks that begin with the word, ‘gold’. From estate agents to media companies, the tourism sector to restaurants, to name but a few.
This goes to illustrate just how we love all things golden, that the value of a trade mark and its reputation is enough for businesses to invest in their brands with the hope of one day selling or licensing their name. This is IP alchemy taken to another level!
Why gold will always hold its value
But it’s not just the value of gold as a commodity, it’s the versatility of gold that exponentially increases its value. Its value may be in a beautiful jewellery design, a one-off work of art that features gold, an invention to find more gold or the power of association that makes us love a brand or business.
Gold carries a symbolism seen in every culture and time. It’s been considered sacred and it’s been considered profane. It’s inspired the best of our creativity (and sadly the worst of our greed). It is truly timeless and its varying forms are endless.
So next time you see anything golden, remember there’s more than meets the eye when it comes to its value. There’s creative alchemy, and sometimes a little IP.
Jeremy O'Hare, Business & IP Centre IP expert
25 April 2022
Every generation of young people wants to change the world. And they do, in some way.
Right now in someone’s studio flat, or halls of residence or on a gap year adventure is the next founder of a tech giant, a publishing phenomenon or an inventing genius. Of that, there is no doubt. But some may not get the success or recognition they deserve for their originality, creativity or inventiveness. The one thing that can often make or break an entrepreneur or business venture is getting their intellectual property right, first time.
This year’s theme for World Intellectual Property Day is IP and youth: innovating for a better future.
Here is a list of the most common mistakes that I’ve come across in helping thousands of entrepreneurs, creatives and inventors. I’m a little older now having helped so many but I hope what you read here will make all of us that much wiser not matter how young we are.
Knowing how important Intellectual Property actually is.
You don’t know what you don’t know and that’s the point of our first tip. For any new business (or established) not understanding how IP can protect your creations and innovations is a fundamental mistake. There are two sides to IP; one is preventing unauthorised use of what you create and the other is maximising your existing IP as an asset that can acquire value. And if you come to sell your business, a lot of its value potentially resides in your IP. Understanding this and building it into your business strategy will maximise your IP, and therefore, your business impact. But how? That’s the next point.
Getting to know the IP family
Want to patent your idea? Re brand your design? Copyright your invention? Mixing metaphors is one thing but not understanding the different forms of IP and what they do is like being stuck in a maze without an exit. What’s more, knowing a thing you create in your business or a creative pursuit can often be protected by more than one form of Intellectual Property is a great help. I like to call them the IP family. Knowing the difference between them and the job they do will provide clarity, and help you formulate your IP strategy clearly. So, for the record, you patent your invention, register your design and copyright your artistic expression. You trade mark your brand, keep quiet your trade secret and everything else is know-how known only to you. And as we’ll see, timing for all of this is key.
Don’t be late to register or protect your Intellectual Property.
I’ve been an agony Uncle to many downhearted, once enthusiastic, start-ups. What has been the most common problem? ‘I started trading with this amazing brand only to find someone else was using it’. It’s a fundamental mistake. What you think is an amazing name for a product or business is probably so amazing that someone else has got there first. So do your research online but also for the register of existing trade marks in the UK here. Our team in the Business & IP Centre’s around the country can assist you with how to do a basic search. This of course as relevant to all the other forms of IP, so it’s always good to register or protect as soon as you can establish originality.
Don’t overshare and the importance of confidentiality
We’ve all done it. It’s irresistible. We’re so excited and captured by our new business proposition or new gizmo that will change the world that we ‘overshare’. Pub environments are particularly risky. If you do have something of real potential, why tell the world, or just anyone else you know? The other thing I hear often is that ‘so and so stole my idea’. Unfortunately, the idea shouldn’t have been shared in the first place. Knowing what a non-disclosure agreement is and when to use them, is a good first step to securing your idea if you need to share it with interested parties. In fact, when it comes to inventions, anything already known in the world invalidates your application. So, as a rule of thumb, share nothing with no one, unless necessary, and with the right protection in place.
Assuming a good idea is a commercial idea is the easiest mistake.
This is a big one but I have to say it. Lots of people have amazing ideas for inventions or services and create incredible things, but not all of these will be commercially successful. Why? Because there’s no market value to them. The thing you create doesn’t satisfy a big enough demand where people are prepared to pay for it. So a good exercise early on is to ask yourself three questions; what problem am I trying to solve? How big a problem is it really? And does my invention or business provide a good enough solution? Inventors very often fall into this trap. They discover a solution to something without considering the size, and therefore commercial value of the problem. History proves this, as there are piles and piles of granted patents which never made it to market. Anybody care for spray on hair? Electric shoe polishers? But at least we can be reassured that even the biggest and boldest companies can fall into the same trap. Anyone own a Betamax?
Not market testing your new product or service.
With this in mind, it’s just good practice to do prepare a robust business plan that includes some evidence of potential demand for your innovative product or service. Market research and testing are fundamental steps to get right early before properly launching. This helps to safeguard any future investment, both time and resource and IP, that you subsequently put into the business. At the British Library’s Business & IP Centre you can do market research with some of the best researchers and publishers in any given industry. That will help to demonstrate that you’re on the right track (or not).
Not setting an IP budget.
There is a cost to registering some forms of IP, those that are known as registered rights. Specifically, these are patents, trademarks and design. The most costly are patents but you should do all your IP research early and work out what the most cost effective options are balanced with maximum protection (supported by a sound business case). That way you’re on track to make judicious IP decisions that pay off. It’s also very helpful to list IP as a necessary cost alongside other costs such as marketing spend, operational and staffing. Ultimately, if your IP is effective, the asset should pay for itself.
Not factoring in infringement costs
First, some bad news. There are no IP police. You will need to be alert to anyone else copying your invention, using your brand or selling a different version of the same product you created. And it’s up to you then to act. Sadly, as your brand grows with your product or service, you should expect copycats. Imitation, they say, is the sincerest form of flattery, except when it takes out your bottom line or ruins your hard earned reputation. Early and tough action on infringement is the best way to shut down any threats and that will almost always involve some legal expertise. So set aside a war chest in your IP defence but be reassured that there is professional help out there. And that’s when IP lawyers are there to fight for your interests. IP lawyers should be members of professional bodies such as CIPA or CITMA. Also be aware of trading standards for some circumstances of infringement.
Not knowing what to ask an IP attorney
Ignorance is never a good thing, especially when trying to solve a complex problem like IP infringement or a new application for protection. That doesn’t mean you have to be an expert, by any stretch. But at least by having a good solid grounding and understanding of how IP works for you and your business means you can maximise the time and effort of any professional advice you seek. Knowing enough about something to ask really good questions and to evaluate the reply is more power to you and encouragement that your IP budget is paying back. Time is money (especially legal time) so cut out the IP small talk and get to the crux of the IP issue and its possible resolution.
Not starting with your Business & IP Centre or Patlib!
How could I not conclude by inviting anyone with an IP issue or question to get in touch with their local Business & IP Centre or Patlib (patent library) network? You’ll be able to talk with staff who have experience and are able to be a sounding board for you to make informed decisions that support your business. No matter what your age (but especially if you’re young), you deserve to be rewarded for your new and innovative creations! And intellectual property is there to ensure you do just that.
20 April 2022
If you were to hear the names, Professor Plum, Colonel Mustard or Miss Scarlet, the board game Cluedo, might immediately come to mind. And for good reason too. The game is a part of so many of our childhoods.
It’s almost eighty years since the idea for what we now know as Cluedo was first pitched to Waddington games by Anthony Pratt, musician and factory worker at the time. Yet, would you think of it as a Leeds innovation?
The story goes that he was inspired with his wife, Elva Pratt, to create a board game based on some of the live murder mystery games played in country houses that were popular at the time. The Leeds games company saw the potential of the idea right away and did a deal with Pratt.
The eponymous company was founded by John Waddington in Leeds. Its brand has been a household name in Britain for much of the 20th Century. If you could time travel back to any post war decade and take a peek into any games cupboard in any home in Britain, you’d likely find at least one Waddingtons’ game. Probably more. A household name is not an over statement.
So this was certainly a magnificent opportunity for both games inventor and manufacturer. Waddingtons was becoming a local Leeds institution and their reach would be pivotal to the success of Pratt’s invention.
But what was really the key to making Cluedo such a household name around the world? The answer is in three rather forgettable words, intellectual property rights. Here we see Cluedo’s widespread success and the collaboration between Anthony Pratt and Waddingtons as a fascinating case study in intellectual property (IP) and why these rights are so important.
We’ll see how and what lessons we can learn for a new generation of games inventors (and anyone else).
Waddingtons built their early success on another game, which also just happened to become a household name. The new American game, Monopoly. They had the exclusive licence from US maker and rights holder, Parker Brothers, to make and sell in the UK. A very savvy move as it turned out, as the favour was swapped with Parker Brothers eventually obtaining the licence for Cluedo (or Clue as it was rebranded in the US).
So the first lesson here is that being a licensor (the owner of the IP rights) and the licensee can (and should) work in both party’s interests.
It certainly worked for Waddingtons, as Monopoly’s success put them in a strong position to develop more games. Cluedo (and Anthony Pratt’s idea) came at just the right time in the company’s growth potential.
But what of the inventor; how would Pratt protect his idea?
Patently obvious answer
Interestingly, Pratt patented the idea for Cluedo back in 1944. Though if you search for any patent called Cluedo, you won’t find it (for reasons to be explained).
Pratt’s patent specification GB586817, Improvements in Board Games, is a fascinating patent. You can view the original here. A patent is a particular type of IP protection for inventions and/or processes. It is usually technical or mechanical in nature, so it’s interesting to read how a game could be considered as such.
Here’s an extract from Pratt’s original patent, outlining the process in playing Cluedo. Anyone who’s played it may well understand the selected extracts;
A board game comprises a board divided into areas representing rooms of a house connected by small squares… ten differently coloured movable pieces representing persons, nine tokens each representing a weapon, and a pack of cards having three suits, one suit containing nine cards which correspond with nine of the rooms… The object of the game is to identify a hidden combination of three cards, one from each suit, as a result of information accumulated during play.
The patent for what we know as Cluedo was granted (meaning finally approved by the Patent Office) in 1947.
This gave Pratt, ownership and rights over the game and the ability to sell or licence the process behind the game to any games maker. Owning the patent also provided him a way to oppose any unauthorised copying.
It raises the question, can you still patent a board game today?
Patents and games
The bar is much higher today to be able to patent a board game. That’s because the same criteria apply, that is the games’ process, or method have to be non-obvious and never been done before. It’s actually more difficult to come up with a really new games process that is truly an innovative step.
It’s also the more costly of the IP rights and takes the most time. There are other IP options, the same ones that Waddingtons also used.
Copyrighting a game
Copyright is an automatic and unregistered right, meaning the creator owns it as soon as it’s created. Putting a copyright sign, naming the owner and year of creation on the game is a simple and legally recognised way of asserting your IP rights.
Copyright applies to all artistic and written creations. It includes visual elements, wording and designs incorporated into the whole board game, and all can be considered copyright. If, there was ever any copying of a games look or distinctive elements, the creator can seek redress as an infringement of their copyright.
One other IP right called registered design, can sometimes be used. Especially if there is an element of the game that is three dimensional, such as player tokens.
The other very important IP right in relation to games is the trade mark. You can find more information about IP and board games by reading our Industry Guide.
Protecting the name of the game
The appeal to the game Cluedo is in the name, Cluedo. That may sound like stating the obvious but the creation and use of the name is another very important ingredient in a game’s success. The original name for Pratt’s game was Murder! But the one of Waddington’s company executives, Norman Watson, who ran with the idea promptly changed the name to Cluedo. Which was an apparent play on a Latin word ludo, meaning ‘I play’. A clever games title and eventually a brilliant, valuable trade mark.
Here is a wonderful marriage of concept and process (the patent) with the branding and name (the trade mark), topped with a visually appealing board design and unforgettable player names (the copyright). All of these forms of IP protection acts as bricks in a defensive wall of 'idea protection'.
But if you own the trade mark, in practice you pretty much own the game.
Our Leeds story goes global, as Waddingtons was purchased by American games giant, Hasbro in 1994. And so, Hasbro obtained all the IP rights to Cluedo. We can see that the registered trade mark for Cluedo is still active today. As well as the trade mark for the board game.
Hasbro have taken Cluedo into new directions. Interestingly, the design of the board game, with its various rooms and names is also now a trade mark. The company is using all means of protection to extend the life of the game and retain IP rights over it. It’s a way to safeguard the investment in its purchase. Is it hardly surprising when we see what a timeless success Cluedo has become?
In recent times there have been many Cluedo spin offs, including novelty versions of the game for the Simpsons and TV comedy Big Bang Theory. Back in the 1980s there were even computer game versions and film as well as a TV show in the 1990s.
It all goes to show how a great games idea, playing on our love of old fashioned parlour games, mixed with Agatha Christie style characters can create something as novel as a board game, lifting a name like Cluedo, to the status of iconic.
So who dunnit?
It was a Leeds inventor and games maker that brought hours of fun to families, down generations, around the world.
Jeremy O'Hare, Business & IP Centre IP expert
12 May 2021
Every quarter, Innovating for Growth: Scale-ups chooses a cohort of high-growth businesses to take part in our 10 week programme designed to help business owners re-evaluate their business across areas such as marketing, products and services and business model.
We caught up again with Sian, founder and director of luxury wallpaper business Sian Zeng to see firsthand the impact of the programme on her business. You can read about the first half of her Innovating for Growth journey in the first installment of her diary. Having finished the programme, Sian can now reflect back on what she has discovered and the improvements she has already been able to put into action.
'Since our first post, we’ve now finished the Innovating for Growth Course. And in that time, my team and I have already made so many changes to how we organize ourselves, what we prioritize and how we present our brand.
Before joining the programme, one of my biggest goals was to find out how accurate our financial figures were; our inventory system often failed us and without an accurate stock figure, it was difficult to gain a real insight into how much profit we were making! Up until recently, I’d been keeping our books myself, which was another pressure on my workload and time I could be using elsewhere.
During the course, I was lucky to have two one-to-one Financial Planning Sessions with Suzie Campbell from The White Space Collective. In these sessions, we discussed the issues I was facing with bookkeeping, how I could improve our inventory system, our wholesale profit margins and worked through our cashflow forecast so that we can make an informed decision on which projects to invest in and people to hire going forward.
On the book keeping side, Suzie referred me to a company that was very well suited to our ecommerce business and was able to give advice on installing a good inventory system. We’ve now switched to an accountant that can fulfill our business needs.
As a creative business owner, I’m always tempted by so many projects I could invest in or hiring more help, but seeing the cashflow forecast with Suzie and the advice she gave me, I’m now a lot more strategic when making these decisions. I now know what to prioritize and when to stop an investment if isn’t working.
When it came to my session with Oliver Henderson, I already had several questions I wanted to ask him specific to my sector. Oliver has great research skills and found valuable market information for me to work with.
During my one-to-one with Dave Vann from ABA Design, I came to realize that some of our branding wasn’t translating effectively on our website. Even though our site is very functional and visually compelling, it lacks the storytelling element our brand is known for as a whole. Dave helped me tease out some of the stories I could share on my site, which is something that I hadn’t thought about before.
Next up, I had a marketing session with Izzie Sully from ABA Design. Using Trello, we went through my marketing plan and it was really helpful to visualise and create it in this way. One of the priorities we discussed was developing a CRM system to help create bespoke customer journeys specific to my business. I have now implemented it for our trade customers and have already seen a massive improvement in how we interact with this audience. We feel so much more organized with a system in place.
Both Dean Wilson and Ophelia Spowers from Fluxx were extremely helpful. I enjoyed speaking to Dean because he often questioned my assumptions. I assumed I needed stock of all my patterns in the new magnetic wallpaper material which we would be launching soon. This would have been a very large financial commitment. He was suggesting perhaps if customers were happy to wait for stock in the past then I might be able to print on demand rather than pay everything upfront. This also means I don’t have to wait until all collections are printed before I start launching this material.
We also discussed that we should have more regular and personal communication with our trade partners going forward, to build those relationships and explore how we can work better going forward. It was suggested that I start arranging catch-up calls with our partners and Ophelia was kind enough to draft a list of questions I could ask during these meetings.
I had a session with Robert Foster from Red Ochre at the very beginning of my course and it was there that we set out a series of goals to guide me through this course and beyond. I was happy to see how much I’ve already tackled. We have agreed on a new set of objectives for the next few months for myself and my team, and I am excited to see where else we are able to simplify and streamline our business.
Overall, the Innovating For Growth Programme has made such a big difference to my business. I feel I understand it on a deeper level and know which systems I need to put in place to not only grow faster but ensure I do more of what I love - painting, designing and creating. I’m very grateful to all the experts for the valuable advice and the British Library staff for organising everything so smoothly, especially during these difficult times.
If you are thinking of signing up for this course, I can’t recommend it enough!'
To find out more about Innovating for Growth and to apply for our next cohort, visit bl.uk/grow.
09 September 2020
Meet Patricia Gurman, founder of Sweet Paper Creations and Start-ups in London Libraries participant
We’ve all been speaking a lot more about our mental health recently. So we love to hear about businesses that are tackling mental health issues in innovative and creative ways. Enter Sweet Paper Creations: a not-for-profit business that is here to support those with poor mental health through crafting and creation. We spoke more to Patty to find out how the business came into being and how Start-ups in London Libraries has helped her to expand her vision...
'At Sweet Paper Creations, we make and sell piñatas, made from recycled materials, for any occasion in our online shop, where customers can also commission their own bespoke character.
The profits from our shop help us to deliver our “Make It and Break It” workshops, where we provide a creative outlet for those suffering from mental health issues, stress, bereavement or those helping support someone going through such issues.
As a Guatemalan who settled in Walthamstow 27 years ago, I have always made piñatas for my children for their birthdays as a way of sharing my Guatemalan cultural heritage with them, and making and breaking them together has become a family tradition.
In recent years, as my eldest child (Ali) had been suffering from depression and social anxiety, we found that making piñatas together was an ideal form of therapy and an opportunity to support her through her journey. Towards the end of last year, with Ali feeling stronger, it struck us that we had stumbled upon a potential support for the growing numbers in our local community who are suffering from poor mental health, as well as their carers and families who feel as I did: inadequate, frustrated and alone.
Our “Make it and Break it” workshops give others the opportunity to engage with a creative outlet, where they can work alongside us, learn a skill in a fun environment and talk about their circumstances should they choose to do so.
We joined SiLL to help develop this idea and since then our business has come alive; we have developed our online shop, sold more piñatas, and delivered three pilot workshops.
From the time I met Sarah at the Walthamstow Library, I felt reassured and confident to be able to develop my ideas into reality. She listened to my ideas, helped me to organise my priorities and to develop an action plan which includes looking at ways to fund-raise in order to deliver our pilot workshops.
Attending the library events and workshops also provided me with the opportunity to learn about legal requirements and to identify new opportunities to continue my business development. As a new business with limited experience, we believe that Sarah’s support and encouragement has helped us to be where we are now.
In starting my business, I learnt a lot, like how to organise my ideas, identify what ideas can work, and how to figure out how to implement them. I also learnt the importance of recognising what I am able to do and to achieve by identifying my limitations and then seeing these as the opportunities to develop in the future.
It is important to understand that everything takes time and does not happen automatically. I learnt to give myself time to learn and develop but also to make mistakes and to learn from them.
And so, if I were to give anyone who was thinking about starting a business advice it would be: attend as many workshops as you can. There is so much that we do not know at the beginning and, even if you are already trading, there is still so much to learn.
If, at the end, you decide to wait to develop your project, or if it is not for you, you will not have wasted your time as you get to meet so many amazing people and develop new friendships, which in itself is a win-win result.
Do not be afraid. Write all your ideas on a piece of paper and mark the ones that make you feel excited and motivated. Share your vision and passion with people like Sarah, who are able to guide you through your adventure.
And to anyone thinking of joining the SiLL programme, don’t think twice! It is the best thing you can do before you start your business adventure. Talking to them really opens your eyes and helps you to avoid mistakes, even though making mistakes is part of the learning.'
To see Patty and Ali's collection of piñatas, visit sweetpapercreations.com.
For more on the Start-ups in London Libraries programme and to book a spot on one of our workshops, visit our webpage.
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