Unit 1- CREATIVE ENTREPRENEUR

Business Types Research Report

There are 6 business types that you need to know if you want to start your business:

Sole Trader

A sole trader is a self-employed person who owns and runs their own business as an individual. A sole trader business doesn’t have any legal identity separate to its owner, leading many to say that as a sole trader you are the business. The sole trader receives all profits (subject to taxation specific to the business) and has unlimited responsibility for all losses and debts. Every asset of the business is owned by the proprietor and all debts of the business are the proprietor's.

Advantages

you’re the boss
you keep all the profits
start-up costs are low
you have maximum privacy
establishing and operating your business is simple
it’s easy to change your legal structure later if circumstances change you can easily wind up your business.

Disadvantages

you have unlimited liability for debts as there’s no legal distinction between private and business assets
your capacity to raise capital is limited
all the responsibility for making day-to-day business decisions is yours
retaining high-calibre employees can be difficult
it can be hard to take holidays
you’re taxed as a single person the life of the business is limited.

Partnership

A partnership is a form of business where two or more people share ownership, as well as the responsibility for managing the company and the income or losses the business

generates. That income is paid to partners, who then claim it on their personal tax returns; the business is not taxed separately, as corporations are, on its profits or losses.

Advantages

Capital – This means that the more partners there are, the more money they can put into the business, which will allow better flexibility and more potential for growth. It also

means more potential profit, which will be equally shared between the partners.

Flexibility – easier to form, manage and run. They are less strictly regulated than companies, in terms of the laws governing the formation and because the partners have the

only say in the way the business is run, they are far more flexible in terms of management, as long as all the partners can agree.

Shared Responsibility – Partners can share the responsibility of the running of the business. This will allow them to make the most of their abilities. Rather than splitting the

management and taking an equal share of each business task, they might well split the work according to their skills. So if one partner is good with figures, they might deal with the book keeping and accounts, while the other partner might have a flare for sales and therefore be the main sales person for the business.

Decision Making – Partners share the decision making and can help each other out when they need to. More partners means more brains that can be picked for business ideas

and for the solving of problems that the business encounters.

Disadvantages

Disagreements – Obviously people are likely to have different ideas on how the business should be run, who should be doing what and what the best interests of the business

are. This can lead to disagreements and disputes which might not only harm the business, but also the relationship of those involved. This is why it is always advisable to draft a deed of partnership during the formation period to ensure that everyone is aware of what procedures will be in place in case of disagreement and what will happen if the partnership is dissolved.

Agreement – Because the partnership is jointly run, it is necessary that all the partners agree with things that are being done. This means that in some circumstances there are

less freedoms with regards to the management of the business. Especially compared to sole traders. However, there is still more flexibility than with limited companies where the directors must bow to the will of the members (shareholders).

Liability – partnerships are subject to unlimited liability, which means that each of the partners shares the liability and financial risks of the business. Which can be off putting for

some people. This can be countered by the formation of a limited liability partnership, which benefits from the advantages of limited liability granted to limited companies, while still taking advantage of the flexibility of the partnership model.

Taxation – taxation laws mean that partners must pay tax in the same way as sole traders, each submitting a Self Assessment tax return each year. They are also required to

register as self employed with HM Revenue & Customs. The current laws mean that if the partnership (and the partners) bring in more than a certain level, then they are subject to greater levels of personal taxation than they would be in a limited company. This means that in most cases setting up a limited company would be more beneficial as the taxation laws are more favorable

Profit Sharing – partners share the profits equally. This can lead to inconsistency where one or more partners aren’t putting a fair share of effort into the running or

management of the business, but still reaping the rewards.

Limited Liability Partnership (LLP)

A Limited Liability Partnership (LLP) is a partnership in which some or all partners have limited liability. It therefore exhibits elements of

partnerships and corporations. In an LLP, one partner is not responsible or liable for another partner's misconduct or negligence. This is an important difference from that of an unlimited partnership. In an LLP, some partners have a form of limited liability similar to that of the shareholders of a corporation.

Advantages

protects the member’s personal assets from the liabilities of the business. LLP’s are a separate legal entity to the members.
the operation of the partnership and distribution of profits is determined by written agreement between the members. This may allow for greater flexibility in the management of

the business.

it can buy, rent, lease, own property, employ staff, enter into contracts, and be held accountable if necessary.
can appoint two companies as members of the LLP. In an LTD company at least one director must be a real person.
you can operate the LLP with different levels of membership.
by registering the LLP at Companies House you prevent another partnership or company from registering the same name.

Disadvantages

Public disclosure- financial accounts have to be submitted to Companies House for the public record. The accounts may declare income of the members which they may not

wish to be made public.

Income is personal income/taxed- there may be tax advantages in registering as a company, but this will depend on your personal circumstances.
Profit can not be retained in the same way as a company limited by shares- this means all earned profit is effectively distributed with no flexibility to hold over profit to a future

tax year. must have at least two members- if one member chooses to leave the partnership the LLP may have to be dissolved.

Residential addresses recorded at Companies House- whilst the use of ‘service addresses’ now allows for home addresses to be kept out of public view, any address previously

supplied to Companies House is still part of the public record unless you pay for the records to be suppressed. For many businesses this is not a problem. However, there are some examples where this may not be desired. Consider solicitors and partners of law firms that may not want their home address so freely available if their work involves sensitive cases.

Limited Company

A limited company (LC) is a general form of incorporation that limits the amount of liability undertaken by the company's shareholders. It refers to a legal

structure that ensures that the liability of company members or subscribers is limited to their stake in the company by way of investments or

commitments.

Advantages

Limited liability- with being a limited company is that you’ll receive the financial security which will help you to sleep easy at night. The business owners won’t face any personal

liability as all their acts are undertaken as agents for the company. Shareholders will only be liable for any debt that the company incurs. There are certain circumstances where liability may be imposed by the court, particularly in respect of fraudulent trading.

Tax benefits- are only taxed on their benefits, which is usually at a rate of 19%. They’re also not subject to the higher tax rate of 40% - 50% (unlike sole traders and individuals

in partnerships). The personal allowance level is £11,850. So you are required to earn over this amount before you will pay income tax on it. So, it’s recommended you pay yourself at minimum wage level to feel the benefits. So, to really feel the benefit, it’s best to pay yourself in dividends rather than one big pay packet.

Not using a company car- using your own personal car rather than a company car for business. This way, you can charge the mileage made on business travel to the company.
Use your home as your office- save money by using your home as your office rather than spending a fortune renting a premise. Run your business from your house or flat and

you can claim back for the cost of doing so

Protection for your business- once you have successfully registered, your company name is protected by law. Companies House has strict rules for the naming of companies -

so no one else can copy your great name.

Professional- trading as a ‘limited company’ can provide a more professional image. Particularly in the case of doing business with larger companies, you may find that they

prefer to deal only with limited companies rather than sole traders or partnerships.

Disadvantages

Paying corporation tax- your business will be liable for corporation taxes, which is a tax on the profits of the business. If the business is profitable enough, what you save in

personal taxes could go to HMRC in the form of high corporation taxes. This tax is calculated and paid annually based on your 'corporation tax accounting period', which is usually the same as your company's financial year.

Administration responsibilities- you’ll have a lot of administration things you need to stay on top of. This includes tax returns, expense details and your business accounts. These

usually need to be completed every month. There is a solution to your overwhelming document overload. Hiring an accountant can save you time and money, so you can continue to focus on the core of your business.

Public accounts- the business must publish its accounts to Companies House, including the details of Corporation Tax and also give a business address. This means that all

annual accounts and financial reports will be placed in the public domain. For sole traders who operate under a business name, you may not wish for this information to be public.

More costs- if you’ve just started your business the costs of setting up a business name can be pricey. Although, the initial costs may prove to be worthwhile when you are

eventually an established and successful limited company.

Non-profit organization

A non-profit organization (NPO) is one which is not driven by profit but by dedication to a given cause that is the target of all income beyond what it takes

to run the organization. Non-profit organizations are often used for trusts, cooperatives, advocacy, charity, environmental and religious groups. So simply

put it is a business that usually intends to promote educational or charitable purposes.

Advantages

Eternal Life: Non-profit organizations (just as for-profit organizations) can exist long after their founders leave as long, as their purpose stays relevant and they continue to

generate revenue.

Organization at Scale: If you are a mission-driven individual who wants to make the world a better place, organizing a non-profit around your chosen cause is the best way to

build a team to expand your efforts and make a bigger impact.

Protection from Personal Liability: Employees of non-profits are not personally liable for the debts of the non-profit. This means that if someone wants to sue your non-profit for

a business-related debt, or injury, they can only go after the corporate entity, not the personal assets of its owners.

Tax-Exempt Status on Net Income: Non-profits do not pay taxes, so all earnings can be cycled back into the organization to improve it.
Public and Private Incentive to Help You Out: Donations made by individuals and corporations are tax-deductible, thereby incentivizing people to contribute to non-profits. All

you have to do is create a clear mission and a strategy to collect donations.

Grants Eligibility: An additional source of funding for non-profits is through government grants.
Employee Benefits: If your non-profit has enough employees, it may qualify for group discounts to health or life insurance benefit programs.
Formalized Structure: Incorporating a non-profit can allow you to create formalized roles with job descriptions and responsibilities, which can attract more professional and skillful

candidates to work with you.

Volunteer Board Members: Typically, non-profits do not pay their board members, which can save a lot of money. Another pro about board members is that they bring a variety

of valuable skills, expertise, and greatly expand your network.

Highly Motivated Employees: Research shows non-profit employees are highly motivated by intrinsic rewards like achievements of their clients and a good work/life balance,

rather than pay. This means you can expect to attract employees who care about your non-profit’s purpose and want to help you make a difference in the world.

Disadvantages

Time and Money to Start: If you’re thinking of starting a non-profit, it is likely to take months of preparation and devoted work. It can also cost up to $800 just to submit your

application to the IRS. Depending on your bandwidth and knowledge, you may need to hire a consultant to make sure you’re filing everything correctly.

Continued Maintenance: All non-profits are required to submit annual filings and comply with all laws of incorporation. There are also quite a few activities which may jeopardize

a non-profit’s status (like lobbying). Note that legal requirements differ from country to country.

Public Scrutiny: Anyone may request copies of any non-profit’s filings and review their expenditures, salaries, and income. If your non-profit will have a large public facing, you

can expect some scrutiny over how you handle administrative expenses.

No Profits: No individuals or shareholders can receive profits from your non-profit. This can make it more difficult to generate interest from potential investors. This does not

mean you will not be paid a salary, it just means that excess funds at the end of the year must be cycled back into the non-profit.

Volunteers and Volunteer Board Members: Volunteers are a pro and a con. From a con perspective, sometimes it may be hard to find willing volunteers to help you achieve your

mission and even when you do, they can be difficult to manage. On top of this, a volunteer can leave at any time without recrepussion, so you must always have a plan to replace them without notice.

Funding Difficulty: While listed as a pro before, getting funding for your non-profit can be a constant struggle.
Overworked Employees: Small to medium-sized non-profits typically have tight budgets and only a handful of employees, meaning more work for less pay.
The "Non-profit Employees Should Get Paid Less" Trap: Many people justify paying non-profit employees less, because they "should be dedicated to the cause rather than the

salary". Unfortunately this trap creates frustrated employees and talent that waves goodbye. The perpetual turnover makes it harder for the non-profit to achieve its mission, and may even cause it to close its doors.

Cooperative

A cooperative business, also known as a co-op, is a type of organization that is both owned and controlled by its members, who also happen to use the services and products of the cooperative. These businesses are different from other types of companies, because they are formed and operate for the benefit of their members. In that sense, they are non-profits.

Advantages

Lower Costs- marketing costs money. So do supplies and services like accounting and IT. One of the greatest business cooperative advantages is members’ ability to split these

costs. This is especially helpful for small businesses that do not need services on the scale that larger companies do and thus cannot justify purchasing the service packages larger companies typically buy.

Further Marketing Reach- the same shared marketing reach that can be one of the worst business cooperative disadvantages can also be one of the greatest business

cooperative advantages – when used strategically. A larger marketing budget means a further reach for every member of the cooperative, which means greater exposure and, generally, more business for every individual member.

Disadvantages

Less Operational Control- if a business cooperative decides to spend the bulk of its marketing budget on mailers and one member would rather market his business through

social media, his only option is to dip into his own pocket for social media marketing while the dues he paid to the cooperative are spent on mailers. Similarly, an individual member's brand personas can get lost in business cooperatives’ shared marketing efforts. A company that wants to stand out or one that prides itself on its unique set of values or operational processes can get lost in the crowd when it is part of a business cooperative, which can be frustrating for business owners and in some cases, cause them to lose business within their niches.

Fixed Pricing- when a business cooperative is in control, the group sets the prices for the members’ goods and services. For a small business that sells specialized services or

more up-market goods than its peers, this can mean losing some profit. It also means reduced competition between the cooperative’s members, who are often operating in the exact same niches.

Conclusion

When I run my business I would rather choose to do a sole proprietorship because most freelancers work on their own business at home however some work in a partnership with other businesses and collaborating. I could work for myself on a freelance basis, or I could be employed by a company. If employed, you may work in-house for a particular company, or for an agency where I’ll be drafted out to work on projects for other people. Working environments tend to be relaxed and sociable to encourage collaborative working and creativity. I’m likely to be offered social perks for team bonding, such as trips, parties and events; usually work in a creative studio space, or from home, but may have to travel to meet clients, especially if you work for a creative agency or freelance. It's common to work on a freelance basis in this industry, taking on short-term contracts and project work. Freelance contracts in this field vary in length depending on the project, but tend to be between two weeks and three months long. Freelance work gives you the opportunity to select projects that suit your individual style and area of interest, but the work is less secure. The fact that self-employment is common in this industry, combined with the breadth of companies that concept artists work with, means that contracts are plentiful and freelancers do not tend to struggle to find work in this field.

Cultural Policy

What is Cultural Policy?

The definition of Cultural policy is the government actions, laws and programs that regulate, protect, encourage and financially support activities related to the arts and creative sectors, such as painting, sculpture, music, dance, literature, and film making, among others and culture, which may involve activities related to language, heritage and diversity. This goes further when this states: “The idea of cultural policy was developed at UNESCO (The United Nations Educational, Scientific and Cultural Organization) in the 1960s. Generally, this involves the government's setting in place processes, legal classifications, regulations, legislation and institutions (e.g., galleries, museums, libraries, opera houses, etc.) which promote and facilitate cultural diversity and creative expressions in a range of art forms and creative activities. Cultural policies vary from one country to another, but generally they aim to improve the accessibility of arts and creative activities to citizens and promote the artistic, musical, ethnic, sociolinguistic, literary and other expressions of all people in a country. In some countries, especially since the 1970s, there is an emphasis on supporting the culture of Indigenous peoples and marginalized communities and ensuring that cultural industries (e.g., film making or TV production) are representative of a country's diverse cultural heritage and ethnic and linguistic demographics. Cultural policy can be done at a nation-state level, at a sub-national level (e.g., U.S. states or Canadian provinces), at a regional level or at a municipal level (e.g., a city government creating a museum or arts center).” (https://www.definitions.net/definition/cultural%20policy)

What are the existing cultural policies for your industry?

The creative industries are the fastest growing part of the UK’s economy, and play a significant role in unlocking innovation and growth in other sectors too. This success is fueled by established international brands all the way through to micro-businesses - which make up 95% of the UK’s creative enterprises - and a significant number of self-employed workers and freelancers. A cultural policy necessarily encompasses a broad array of activities and typically involves public support for:

Heritage, battlefield and historic preservation sites
Zoos, botanical gardens, arboretums, aquariums, parks
Libraries and museums (fine arts, scientific, historical)
Visual arts (film, painting, sculpture, pottery, architecture)
Performing arts (symphonic, chamber and choral music; jazz, hip-hop and folk music; ballet, ballroom and modern dance; opera and musical theatre; circus performances, rodeos

and marching bands)

Public humanities programs (public broadcasting, creative writing, poetry)

The cultural production system

Content origination. The generation of new ideas – usually authors, designers or composers – and the value derived from intellectual property rights;
Exchange. The relationship to the audience or market place. This takes place through physical and virtual retail, via wholesalers and distributors, as well as in theatres, museums,

libraries, galleries, historic buildings, sports facilities and other venues and locations;

Reproduction. Most cultural industry products need to be mass-produced; examples include printing, music, broadcasting, production of designed materials and product
Manufacturing inputs. Ideas must be turned into products and prototypes using tools and materials; this might cover the production and supply of things as diverse as e.g.

musical instruments, film or audio equipment or paint.

Education and critique (to cover both training and the discourse in critical ideas),
Archiving (to include libraries and the ‘memory’ of cultural forms).

How has cultural policy changed due to the current pandemic? Will these changes have a positive/negative impact on your enterprise?

At a time of huge uncertainty in all areas of the economy, including the creative industries, many are trying to understand the ongoing impact of COVID-19 on our sector. Public venues, freelance workers, and micro and small businesses are important features of the creative industries, and all are threatened by the pandemic. This goes further: “The creative industries - from film, to fashion, to creative digital - are now widely recognized as a thriving part of the UK economy, contributing £111.7 billion in gross value added (GVA) and employing 2.1 million people. However, the sector faces significant challenges, not only as a result of the COVID-19 pandemic but also issues relating to business size, skills and diversity.” (https://www.pec.ac.uk/policy-briefings/three-ways-in-which-evidence-should-guide-spending-review-promises-on-the-creative-industries)

The COVID-19 pandemic had a sudden and substantial impact on the arts and cultural heritage sector. The global health crisis and the uncertainty resulting from it profoundly affected organizations' operations as well as individuals—both employed and independent—across the sector. Arts and culture sector organizations attempted to uphold their (often publicly funded) mission to provide access to cultural heritage to the community; maintain the safety of their employees, collections, and the public; while reacting to the unexpected change in their business model with an unknown end. By March 2020, most cultural institutions across the world were indefinitely closed (or at least with their services radically curtailed), and in-person exhibitions, events, and performances were cancelled or postponed. In response, there were intensive efforts to provide alternative or additional services through digital platforms, to maintain essential activities with minimal resources, and to document the events themselves through new acquisitions, including new creative works inspired by the pandemic. Many individuals across the sector would temporarily or permanently lose contracts or employment with varying degrees of warning and financial assistance available. Equally, financial stimulus from governments and charities for artists would provide greatly differing levels of support depending on the sector and the country. The public demand for in-person cultural activities was expected to return, but at an unknown time and with the assumption that different kinds of experiences would be popular.

“The social distancing measures implemented globally in order to slow the spread of COVID-19 have led to the closure of cultural spaces, the cancellation of cultural events and a suspension of much community-based practice for cultural practitioners. COVID-19 is already having a devastating impact on the cultural sector, with jobs being lost and live audiences wary of returning. It is predicted that the impact of COVID-19 on the cultural sector will have long-lasting impacts, changing cultural practice and engagement as we know it. Many cultural organizations and practitioners have responded rapidly by creating opportunities for cultural engagement within the digital space. There is thus an urgent need for learning relating to supply/demand of cultural activity in the digital space and whether the crisis will replicate, exacerbate or temper existing inequalities in cultural production/consumption both during the lock down period, and after restrictions begin to ease. While there have been attempts to measure the impacts of COVID-19 on the cultural sector it has so far been fragmented in nature. There is very little work which has examined the impacts of COVID-19 in depth across the range of organizations/practitioners who fall within the sector.” (https://www.pec.ac.uk/news/how-can-the-creative-industries-come-together-to-share-how-covid-19-is-impacting-the-sector)

This states that the Creative Industries Policy & Evidence Centre (PEC) has put out different surveys for people that are struggling during the pandemic in the creative industries and how they will help and this could have a positive impact on my enterprise however, the pandemic can affect people like me due to certain facilities unavailable etc.

Logo Design Brief

Industry Representative Bodies

BECTU (Broadcasting, Entertainment, Communications and Theatre Union)

BECTU (stands for Broadcasting, Entertainment, Communications and Theatre Union) is the union for creative ambition. We represent over 40,000 staff, contract and freelance workers in the media and entertainment industries. Our members work in non-performance roles in broadcasting; film and cinema; digital media; independent production; leisure; IT and telecoms, and theatre and the arts. They advise, defend and support members if they have a problem at work. They also:

negotiate pay and conditions with employers
campaign for jobs and standards
facilitate freelance members to organize across the industry on rates and agreements
offer valuable benefits and services
networking events and career development opportunities

The BECTU negotiate with employers across the creative industries, not just on pay and conditions but on a range of issues that affect members’ working lives: career development, contracts of employment, hours, leave, maternity, pensions and bullying and harassment. The membership is growing and strengthening and this is vitally important in a time when the world of working is changing. Bectu has responded to the changes of an increasingly self-employed workforce and is the UK’s largest union for freelancers. They are also an experienced campaigning union, have campaigned successfully on a wide range of issues across the creative sectors from the long hours culture in the film and TV industry, increasing diversity within the theatre industry, harmonizing pay for freelancers in major motion pictures and continuing the role as the largest union in the BBC to secure the best pay and terms and conditions for workers. As part of Prospect union, Bectu is politically independent but this does not make us politically naïve. Independence means we can speak truth to power across the party political spectrum and ensure our members’ voices and interests are heard.

government ministers and MPs
consumer bodies
Employers
industry and professional bodies
the public at large.

TIGA (The Independent Game Developers' Association)

TIGA (or The Independent Game Developers’ Association) is the trade association representing the UK’s games industry. The majority of our members are either independent games developers or in-house publisher owned developers. We also have outsourcing companies, technology businesses and universities amongst our membership. TIGA's vision is to make the UK the best place in the world to do games business. We focus on three sets of activities: political representation, generating media coverage and developing services that enhance the competitiveness of our members. This means that TIGA members are effectively represented in the corridors of power, their voice is heard in the media and they receive benefits that make a material difference to their businesses, including a reduction in costs and improved commercial opportunities. Some of the best performing games IP globally is generated in the UK. Notable examples include the Grand Theft Auto franchise, developed by Rockstar. Other UK studios have produced major games franchises such as Batman and Lego, as well as individual world-class titles such as RuneScape (developed by Jagex) and the Sniper Elite series (developed by Rebellion). The UK video games industry is important economically and culturally. The UK video games sector is the largest in Europe. Games development contributed over £1.8 billion towards GDP in the year to November 2018, as well as an estimated £747m in direct and indirect tax revenues to the Exchequer. As of November 2018, 14,353 full-time and full-time equivalent staff work in games development. The number of jobs indirectly supported by studios rose in the year to November 2018 from 24,274 to 26,241. Games development is a knowledge industry par excellence. The sector sustains highly skilled, graduate employment. A typical games development studio will have 80 percent of staff qualified to degree level or above and many studios provide on-going . The UK games development and digital publishing sector is a success story. The introduction of Games Tax Relief in 2014 – a measure which TIGA successfully campaigned for over seven years – will give the UK industry an important boost and enable it to compete on a more level international playing field against overseas players . Yet too many studios in the UK fail. Too many studios struggle to grow. Over two-thirds of studios employ just four or fewer people. If the sector is to achieve its full potential and make a significant contribution to UK employment and growth, then we need to do more. In particular, the UK needs to build an environment that is favorable to start-ups and the growth of more sustainable studios.

Legislation

What laws and regulations directly are affecting your industry? How do they affect you?

The importance of Creative Industries and its relation to Intellectual Property Law

Indeed, creative industries can make substantial contributions towards national economic growth through the exploitation of the creative skills of their workforce and the generation of Intellectual Property. Intellectual Property is the catalyst that transforms creative activity into creative industry and value. The law grants rights to creators in order to provide them with incentives to create and disseminate their work. Therefore, knowing, protecting and exploiting your rights as creators is vital and essential. It is only through understanding what rights you own in your work, how you can ensure that you are identified as your work's creator and the meaning of protection and exploitation of your work that you can make a living and not only, in your particular sector and in the creative industries and continue spending time to create new works. However, in practice it is rather difficult for the creators themselves to recognize and understand their intellectual property rights and assets and protect them due to the complexity of the Intellectual Property Law especially when it comes to agreements (including Licensing and Assignment) that need to be signed between the creator prior to any exploitation of their intellectual property.

Intellectual Property is not one thing

Intellectual Property is not one thing. Copyright, patents, designs and trademarks are all types of intellectual property protection. So, it is a variety of rights which may apply to different aspects of works such as:

the names of your products or brands
your inventions
the design or look of your products
things you write, make or produce

Explaining registered and unregistered Intellectual Property rights

Some of these rights may arise automatically at the moment the work is created, whereas others may require application to the relevant authorities for their registration. Usually these authorities will probably be of a certain country thus the registration will be made within certain geographical boundaries with each right usually subsisting only within the country/jurisdiction which actually granted it.

Unregistered Intellectual Property rights

Copyright- protects the owner of the property rights in literary, dramatic, artistic, musical works and films against those who would copy or otherwise use the works in their

original form. It also grants the exclusive right to use, lend, or permit others to make copies or adaptations of the works they create. It, therefore, acts as incentive for the creators to continue to create new work.

Performance- these rights protect the exploitation of live dramatic, musical or literary performances usually by way of recording them or making recordings available.
Design- can be registered and also unregistered.
Unregistered design- protects designs for making objects again from the moment the design is recorded.
The Law of confidence- protects confidential information (trade secrets) against disclosure or use by a person who received the information in a confidential relationship.

Registered Intellectual Property rights

Registered Intellectual Property rights protect a range of things:

A patent- an exclusive right granted for an invention, a product or process that provides a new way of doing something, or that offers a new technical solution to a problem. A

patent provides patent owners with protection for their inventions. Protection is granted for a limited period, generally 20 years.

A trademark- a distinctive sign that identifies certain goods or services produced or provided by an individual or a company and protects them against use by others in relation

to similar goods and services. Trademarks may cover names, slogans, symbols and images (and in some countries colors and smells). In other words, a Trademark helps consumers to identify and purchase a product or service based on whether its specific characteristics and quality – as indicated by its unique trademark – meet their needs.

Registered designs or Industrial designs- refer to an ornamental and/or aesthetic aspect of an article and briefly they protect decorative designs such as unique shapes,

configuration and also color or composition of 2D and 3D designs and are most often used for application to manufactured objects.

Useful Chart Types of protection

The type of protection you can get depends on what you've created. You get some types of protection automatically, others you have to apply for.

Automatic protection
Type of protection

Examples of intellectual property:

Copyright
Writing and literary works, art, photography, films, TV, music, web content, sound recordings
Design right
Shapes of objects

Protection you have to apply for- Examples of intellectual property

Trademarks
Product names, logos, jingles
Register designs
Appearance of a product including, shape, packaging, patterns, colors, decoration
Patents
Inventions and products, e.g. machines and machine parts, tools, medicines

Keep these types of intellectual property secret until they're registered. If you need to discuss your idea with someone, use a non-disclosure agreement.

Using more than one type of protection

More than one type of protection could be linked to a single product/service/creation/work , e.g. you could:

register the name and logo as a trade mark
protect a product's unique shape as a registered design
patent a completely new working part
use copyright to protect drawings of the product

It is obvious that all creators wishing to succeed in their effort to create and generate income from the commercial exploitation of their rights need to reply to a greater or lesser extent on Intellectual property Law and the way they are using it for their protection and benefit. The intellectual property system helps strike a balance between the interests of innovators and the public interest, providing an environment in which creativity and invention can flourish, for the benefit of all. Together, these creators and companies and their Intellectual Property rights and agreements in place within the marketplace, make, indeed, the most of the Creative Industries.

Strengthening the Creative Industries

There is no doubt that, Creative industries are among the most dynamic sectors of world trade. As mentioned at the beginning of this article, Governments can play a crucial and catalytic role by putting in place the policies, laws and regulations, and institutions needed to strengthen their cultural and creative industries and benefit from the creative economy. Governments who haven't looked seriously into their creative sector must do so, starting by examining their current intellectual property legislation, tax, legal and fiscal policies (mainly the need for financing mechanisms and legislation and a framework to support creative SMEs and to attract investors) and institutional framework and their current organizational structure/s in place to support the creative sector. By fostering the development of productive creative capacities, cultural entrepreneurial skills and trade opportunities, conducting meetings and exchange views and ideas between the Government ministries and Stakeholders and reach strong consensus. To review all institutional mechanisms available and provide for new such mechanisms, if necessary, to raise awareness and educate accordingly in order to provide an enabling environment for promoting the use and safeguarding of Intellectual property rights and ensuring enforcement of those intellectual property rights timely and effectively to ensure the development and promotion of creative and cultural industries. In this way the Creative and Cultural Industries will boost the number and quality of jobs, generate income, increase trade in creative products, promote cultural diversity and development, while at the same time, substantially contributing to the Creative Economy and the national Economy in general as the ultimate goal.

Impact on Creative Industries- Organization, trade bodies or unions that represent the interests of your industry

Concept Art Association

The Concept Art Association is an organization committed to elevating and raising the profile of concept artists, their art and their involvement in the entertainment industries. We are creating a community, mentor ship opportunities, and events for the artists of the concept art world. At the center of our organization is an annual Concept Art Awards show, where we showcase and recognize these behind-the-scenes individuals working in entertainment concept art.

The Graphics Union

The Graphics Union is a self governing body that has come together to discuss issues, share resources, represent interests and protect employment rights of its members, Graphics Designers working in the UK Film and TV industry.

Coronavirus Impact- positives and negatives

People on social media are sharing favorite Netflix playlists, songs, videos, and even artwork to reach out beyond isolation and share what they love. It is naïve to think that such lists are mere casual swaps of entertainment enjoyed and recommended. They are an externalization of the personality of the list maker: the romance enthusiast, the lover of comedies, the thrill seeker, the horror fan, and the aficionado of obscure documentaries. In this time of restriction, TV, film, books, and video games offer us a chance to be mobile. To move around freely in a fictional world in a way that is now impossible in reality. Art connects us to the foreign, the exotic, and the impossible—but in our current context, it also connects us to a world where anything is possible. A world out of our grasp for now. A life in isolation is nothing new, communities like this have been isolated and invisible to the vast majority of the world for a long time. It is capitalism’s dustbin. When capitalism coughs, these communities perish. So what of the arts in isolation? It might be too early to write that book and paint that picture that captures the buzz of anxiety we all feel. We probably need more time and artists need more sunrises and sunsets to rise and fall on the full, nervous houses. They need more time to listen to the sounds of life interrupted and to mourn for the “world that was,” watching it drift further into the shadows (https://www.fastcompany.com/90485311/art-matters-more-than-ever-during-the-covid-19-crisis)

Creative industries are among the most dynamic sectors of world trade. As mentioned at the beginning of this article, Governments can play a crucial and catalytic role by putting in place the policies, laws and regulations, and institutions needed to strengthen their cultural and creative industries and benefit from the creative economy. Governments who haven't looked seriously into their creative sector must do so, starting by examining their current intellectual property legislation, tax, legal and fiscal policies (mainly the need for financing mechanisms and legislation and a framework to support creative SMEs and to attract investors) and institutional framework and their current organizational structure/s in place to support the creative sector. By fostering the development of productive creative capacities, cultural entrepreneurial skills and trade opportunities, conducting meetings and exchange views and ideas between the Government ministries and Stakeholders and reach strong consensus. To review all institutional mechanisms available and provide for new such mechanisms, if necessary, to raise awareness and educate accordingly in order to provide an enabling environment for promoting the use and safeguarding of Intellectual property rights and ensuring enforcement of those intellectual property rights timely and effectively to ensure the development and promotion of creative and cultural industries. In this way the Creative and Cultural Industries will boost the number and quality of jobs, generate income, increase trade in creative products, promote cultural diversity and development, while at the same time, substantially contributing to the Creative Economy and the national Economy in general as the ultimate goal.

Service Table and Progress Flowchart

Quality

Good quality and affordable

Fast

As a working artist, it's absolutely imperative to learn about time management, get systems in place, and stick with them as best as possible. We have to treat creating art as our job if we intend to make a living from it, which entails, among many other things we have to do to keep out business running, sending our customers/clients updates and turning in work whenever we've promised to do so.

User Friendly

Make sure it is sustainable and environment friendly. Digitization came as a by-product of the long standing ripple effects of the industrial revolution and the creation of computers. The industrial revolution also changed how we manufacture certain art supplies. Art supplies and tools became part of a massive industry that services everyone from small children to professional artists. The website should be easy to use and to understand.

Customer Service

Crowdfunding- Kickstarter and Indiegogo are two of the most popular crowd-funding platforms for artists. Both platforms allow you to propose a project through a video and campaign page to an audience willing to invest in it. In return you offer investors special awards as thanks for their support.

Cheap

Cheap products like small sketches, stickers/pins and more. The longer it takes you to complete a piece, because of its complexity, the more expensive it will be. It won’t take you as long to draw a portrait of a man than a painting of a whole family and their dogs. This is especially important when you offer your commissions in “add-on” mode. E.g. Portraits start at £40. Extra characters £25. Detailed backgrounds £50. This is a really easy way for your customers to calculate how much they’d be spending depending on what they want to include in the piece. However, it’d be wise to add a disclaimer that prices may vary depending on complexity. Because you may end up having to draw a very intricate armour that is going to take you longer than the whole family and their dogs we mentioned before. And that’s not fair to you.

Luxury

Expensive products such as prints, art books, sketches, and original artworks. Freelancers and youtubers have a big salary. There are two common methods that artists use to price their work:

By hour: Amount of hours worked on painting x hourly rate

This method requires you to determine your hourly rate, which will be completely dependent on your experience and skill level. I always add the cost of supplies to this total afterwards.

By size: Set cost per square inch x amount of square inches in painting

This method entails you set a particular cost per painted square inch, which will be dependent on the quality of the supplies you're using, as well as the level of detail rendered in your work.

Legal Cases affecting my industry

One of the cases I will discuss is a US rapper Lil Uzi Vert suspected of plagiarizing

Korean illustrator's artwork. American rapper Lil Uzi Vert is accused of plagiarizing

an artwork of a Korean illustrator for his latest album's cover art, who could be

sued for violating the original artist's intellectual property. Korean illustrator Tae

Tae raised the allegation that the U.S. rapper copied his six-year-old artwork

without consulting him in advance for the rapper's new single "That Way,"

pledging to file a suit in case things get worse. The rapper's single was released

on March 1. Sharing a side-by-side image of the two artworks to demonstrate the

similarity, the artist wrote, “My picture was posted on my blog six years ago, and

it is possible to use it for profile pictures or non-commercial purposes, but it is

not allowed to use anything else. ”Lil Uzi addresses the matter in the comments

on hugeriver8’s IG post. “Hey I’m not a mean person or a thief I get inspired a

lot,” he wrote. “If you want Money I will have my team contact and give you

Money. Signed… Baby Pluto. P.S. You are a great artist.” The original artist is now

going to get paid.

Plagiarism and copyright infringement can affect artists and illustrators in all

shapes and sizes. Plagiarists copy sketches, paintings, photos, and even sculptures. When you copy someone else’s art without consent or credit—you are stealing. Even mere using of filters, changing of color, and adding of clip art or text are part of this poor practice. Like literary plagiarism, art plagiarism also comes in many forms such as theft and tracing. Art theft is the “obvious” stealing of artwork and publishing it as your own art. Without seeking consent from or giving credit to the source, the act is an indirect claim of the stolen piece. Art theft isn’t limited to simple posting of others’ artwork. Tweaking it to make it look different is also an act of plagiarism. On the other hand, tracing is an act of duplicating the original artwork either with little or no change at all. Like art theft, tracing also goes beyond the traced copy as it also involves enhancements. Even after tracing the original piece, putting color doesn’t make it yours. Flipping the traced piece backwards, altering details, and changing the original hues don’t make it unique.

Tips on Avoiding Art Plagiarism

Make another person’s work your inspiration. If you find a good piece and want to use it, get ideas from it. Don’t save, copy, trace, and post the artwork. Instead, use it as a

guide or pattern to create your own.

Mix different ideas. Take a few sources and make your own piece by drawing inspiration from them. This helps you create a great masterpiece—something you can call

yours. Cite your sources. If you’re inept at creating your own art, use your sources. However, do not forget to name and acknowledge the owners or publishers. This is the safest way to avoid art plagiarism.

COVID-19 Vs Cultural Policy

How Artists are Dealing with COVID-19

Strengthen your online presence

In response to cancelled art shows, exhibits, conferences, workshops, and coaching sessions, artists are taking a positive approach to overcoming the challenges of the Coronavirus. Increasingly over the last ten years, artists have learned to depend on online tools to run their art business and market their artwork. Now, more than ever, it's time to harness and tap into the power of the internet to make connections and readapt your business to a changing landscape.

What can you do now to strengthen your digital presence?

Here are some concrete ways to strengthen your business through your online presence during this international “pause”.

Do a social media audit: Is your information the same across all platforms? Do the links to your social media accounts work? Are your bios strong and accurate?
Offer an online workshop: Tools like Zoom, Facebook Live and even Google Hangouts allow you to teach a workshop from anywhere—even your couch. Here is a full list of tools

for you to run your art business, teach online classes, conduct video conferences and more during the time of social distancing.

Check-in with your contacts: When did you send out your last newsletter? Is your client list up to date? Have you organized your contacts into groups based on your

relationships with them?

Create new content: When was the last time you made a time-lapse video of you working on an artwork? Is there something you can teach or share about your process to

engage your audience? Your online presence is important now and will continue important when we come out of isolation as well. Being online allows you not only the ability to communicate with those around the world also sheltered-in-place, but also creates ways to connect with your audience or with other artists.

Focus on creating new work

Artists are also using this forced downtime to create new work for the future, experiment with new series, and delve into longer-term projects.

What are the best ways to stay focused during this time?

Set aside a dedicated space in your home to make your work. If you have a studio setup that works for you, mimic the layout in your home the best that you can. Work-from-

home newbies are advised to create a space that is different enough from their non-work spaces. Set yourself up for success by limiting distractions and attempting to make a separate area where you can create.

Create a schedule for yourself to manage your work availability. Artists are used to having non-structured days, but it's even more important now to give yourself a little

structure. Can you give yourself a set period of time each day to work on your art? Setting out dedicated time will help you produce and allow you to take a complete break when you aren’t working later in the day. Make sure you are leaving time to do the other things that will keep you healthy during this extended time in isolation. Having structured time for work will allow for time to exercise, make healthy meals, get enough sleep, connect with loved ones, and get outside.

Keep your creative brain active and healthy. Take care of yourself to be in a head space where you will be able to work and create. Make sure that despite the craziness around

us, that you are kind to yourself and that you are making sure your needs are met. Participate in online creative prompt challenges to keep exercising your creativity.

Organize your artworks and studio

If there is something you have always said you'll get around to when you have more time, it's organization.

What's the best plan of attack for organizing your workspace and business?

Get rid of what you can. Sometimes the designated space for something is in the trash or recycling. Maybe it’s time to detox your studio of harmful chemicals. Donate materials

that you never use. The less clutter you have, the less you have to organize and the freer you’ll be to create.

Designate a place. A sure-fire way to stay organized is by making sure every paintbrush, every piece of mail, or finished artwork has a designated space to call home in your

studio or temporary studio. Tools you use often should be easy to reach. Try making a pegboard for your studio tools. Pegboards make it easy to see and put back all your tools, they use space wisely with vertical storage, and they are inexpensive—win, win, win.

Conduct an artwork inventory. If you are like most artists, you most likely have bits and pieces of this information all over the place. You have information on your website, at

your galleries, in past publications, on your social media, and in your own records. Take organization to the next level by using a cloud-based system like Artwork Archive that keeps track of all your artworks, details and business details online helps you focus on what really matters in your career—plus, it's free for 30 days.

Document your past exhibitions. You can't currently have in-person shows, but you should be keeping up to date on the shows you have participated in the past. The longer

your career, the harder it is to remember past shows and exhibitions. Update your CV with your past shows and enter them in your inventory system to build provenance on your artworks.

When everything is organized, you’ll be able to run your art business more effectively and have more room for creativity. You’ll be able to keep on top of projects and deadlines, give buyers, gallerists, and collectors the information they need to work with you and feel more in control of your art career.

Think about how to use your skills to contribute

If you have spare time, energy, or resources, think about how you can contribute to connect with and help other people during this crisis. As artists, we want to maintain a healthy and strong art community. Here are some questions to ask yourself during this time.

What skills do I have that I could help share with others right now?
What information can I share to help support others?
In what ways can I use my artwork and skills to help brighten the world around me?
If I am in a place financially to offer support, how can I do this? Can I offer free seats in a class or organize a fundraiser?
Which groups can I partner with to provide support or aid?
Is there a crowdfunded site already in my local region?

Create community & connection through art

The arts have always brought us together. Artists continue to innovate in the face of recent challenges and inspire the world around them to find new ways of connecting.

How can you create connections in your community through art?

Practice your digital handshake by reaching out to and connecting with artists and art groups that you respect. Make a list of groups that you are interested in, write an intro

email and ask if you can be a part of their COVID-19 programming. Or, use this time to build out a list of people you plan to contact in the future.

Plan out connections and collaborations digitally by finding like-minded artists. Propose a mini art-in-isolation type of collective. Use the art community to continue to inspire

and motivate you.

Seek out supportive groups. Join webinars, digital art critiques, remote book clubs, and create online versions of studio visits for the public. Just because the world has slowed

down doesn’t mean that you have to lose your community.

Record your artistic legacy

You'll want to ensure that your life and work as an artist are remembered and written into history. You devote their life to their work, spending decades honing your craft and producing works of art, putting your heart and soul into what you create. By building a comprehensive inventory and documenting your life’s work and story, you will ensure that your legacy lives on—plus, it’s something you can work on while you have downtime at home.

So, how do we ensure that your life's work is not forgotten in a pile of cardboard boxes at the back of a studio?
How do we record our artwork, vision and voice to be remembered for generations to come?
How do we keep the burden of protecting your legacy from resting on your family’s shoulders?
Preserving your legacy as an artist should start with a complete and detailed record of your art inventory.

When it comes to archiving your artwork, here are steps you can take to get started:

Record the title, medium, dimensions, and creation date along with high-quality photographs for each artwork. You may also want to consider recording the original selling

price, inventory number, and any other vital information about its creation or sale.

Choose a program to organize your artworks and manage your inventory. Artwork Archive is an online inventory system designed to help artists keep and manage a complete

catalog of their artworks in order to preserve their artistic legacy.

Think beyond the titles and dimensions, in order to record your artist legacy in a more comprehensive way. “Vision, technique, process—they are all essential to understanding

an artist’s lifetime and legacy,” explains CERF+’s Mark Leach. "Authentic artistic legacy is reflected in and through an artist’s actions, words and thought. Together, these provide the public with a close sense of the artists’ peculiarities of style, technique, and influences."

Plan for the future

While we aren't quite sure when things will return to "normal," it's always a good idea to plan for the future. Even if residency programs in the next few weeks or months might be put on hold, you can take this time to prepare application materials for future use. Fill out a calendar of various opportunities that you’d like to apply to and make a plan for when you are going to get going on your applications. Here are a few resources to help you plan for the future:

Review all of your application materials. Revisit your artist statement, bio, CV and resume.
Create a marketing calendar. With possibly more downtime right now, focus on what you can control. You can still make work and you can still create content or campaigns. Plan

out the next few months by front-loading your content creation and promotions strategy. Take pictures, create videos of your work, strategize on your next online sales and don't release it all right away. Use the time to build up an online library that you can count on when you get back to a busier studio and exhibition schedule.

Seek out new opportunities. When your regular routine has been shaken up, it's a perfect time to look into doing things differently. Apply for a grant or exhibition to keep

things going.

Commit to your goals. As an artist, you’re not only in the business of expressing yourself creatively, but you’re in the business of running a business.

COVID-19 Impact- Advantages and disadvantages (which applies to me)

Positives

People on social media are sharing favorite Netflix playlists, songs, videos, and even artwork to reach out beyond isolation and share what they love. It is naïve to think that such

lists are mere casual swaps of entertainment enjoyed and recommended. They are an externalization of the personality of the list maker: the romance enthusiast, the lover of comedies, the thrill seeker, the horror fan, and the aficionado of obscure documentaries. In this time of restriction, TV, film, books, and video games offer us a chance to be mobile. To move around freely in a fictional world in a way that is now impossible in reality. Art connects us to the foreign, the exotic, and the impossible—but in our current context, it also connects us to a world where anything is possible. A world out of our grasp for now. “A life in isolation is nothing new, communities like this have been isolated and invisible to the vast majority of the world for a long time. It is capitalism’s dustbin. When capitalism coughs, these communities perish. So what of the arts in isolation? It might be too early to write that book and paint that picture that captures the buzz of anxiety we all feel. We probably need more time and artists need more sunrises and sunsets to rise and fall on the full, nervous houses. They need more time to listen to the sounds of life interrupted and to mourn for the “world that was,” watching it drift further into the shadows.” (https://www.fastcompany.com/90485311/art-matters-more-than-ever-during-the-covid-19-crisis)

Negatives

At a time of huge uncertainty in all areas of the economy, including the creative industries, many are trying to understand the ongoing impact of COVID-19 on our sector. Public

venues, freelance workers, and micro and small businesses are important features of the creative industries, and all are threatened by the pandemic. This goes further: “The creative industries - from film, to fashion, to creative digital - are now widely recognized as a thriving part of the UK economy, contributing £111.7 billion in gross value added (GVA) and employing 2.1 million people. However, the sector faces significant challenges, not only as a result of the COVID-19 pandemic but also issues relating to business size, skills and diversity.” (https://www.pec.ac.uk/policy-briefings/three-ways-in-which-evidence-should-guide-spending-review-promises-on-the-creative-industries)

“The social distancing measures implemented globally in order to slow the spread of COVID-19 have led to the closure of cultural spaces, the cancellation of cultural events and a

suspension of much community-based practice for cultural practitioners. COVID-19 is already having a devastating impact on the cultural sector, with jobs being lost and live audiences wary of returning. It is predicted that the impact of COVID-19 on the cultural sector will have long-lasting impacts, changing cultural practice and engagement as we know it. Many cultural organizations and practitioners have responded rapidly by creating opportunities for cultural engagement within the digital space. There is thus an urgent need for learning relating to supply/demand of cultural activity in the digital space and whether the crisis will replicate, exacerbate or temper existing inequalities in cultural production/consumption both during the lockdown period, and after restrictions begin to ease. While there have been attempts to measure the impacts of COVID-19 on the cultural sector it has so far been fragmented in nature. There is very little work which has examined the impacts of COVID-19 in depth across the range of organizations/practitioners who fall within the sector.” (https://www.pec.ac.uk/news/how-can-the-creative-industries-come-together-to-share-how-covid-19-is-impacting-the-sector) This states that the Creative Industries Policy & Evidence Centre (PEC) has put out different surveys for people that are struggling during the pandemic in the creative industries and how they will help and this could have a positive impact on my enterprise however, the pandemic can affect people like me due to certain facilities unavailable etc.

Covid-19 SWOT Analysis in my enterprise

Strengths

Strengthening your online presence- In response to cancelled art shows, exhibits,

conferences, workshops, and coaching sessions, artists are taking a positive approach to overcoming the challenges of the Coronavirus. Increasingly over the last ten years, artists have learned to depend on online tools to run their art business and market their artwork. Now, more than ever, it's time to harness and tap into the power of the internet to make connections and readapt your business to a changing landscape.

Focus on creating new work- Artists are also using this forced downtime to create

new work for the future, experiment with new series, and delve into longer-term projects.

Organize your artworks and studio- If there is something you have always said

you'll get around to when you have more time, it's organization.

Think about how to use your skills to contribute- If you have spare time, energy,

or resources, think about how you can contribute to connect with and help other people during this crisis. As artists, we want to maintain a healthy and strong art community.

Create community & connection through art- The arts have always brought us

together. Artists continue to innovate in the face of recent challenges and inspire the world around them to find new ways of connecting.

Record your artistic legacy- You'll want to ensure that your life and work as an

artist are remembered and written into history. You devote their life to their work, spending decades honing your craft and producing works of art, putting your heart and soul into what you create. By building a comprehensive inventory and documenting your life’s work and story, you will ensure that your legacy lives on—plus, it’s something you can work on while you have downtime at home.

Plan for the future- While we aren't quite sure when things will return to "normal,"

it's always a good idea to plan for the future. Even if residency programs in the next few weeks or months might be put on hold, you can take this time to prepare application materials for future use. Fill out a calendar of various opportunities that you’d like to apply to and make a plan for when you are going to get going on your applications...

Opportunities

Remote Working: When businesses realized it would take months or perhaps years

for the situation to return to normalcy, they leaned towards remote working options. An explosion in the development of cloud-based collaboration tools made the switch possible. Zoom’s year-over-year growth of 355% in the second quarter of this financial year best represents the rise of remote working trends.

Creative Industries Policy & Evidence Centre (PEC) has put out different surveys

for people that are struggling during the pandemic in the creative industries and how they will help and this could have a positive impact on my enterprise

Policy: In some areas, government policies have stimulated growth; e.g. restrictions

on in-person shopping have accelerated the growth of online shopping.

Access to Talent: According to the Harvard Business Review, the COVID crisis has

created an unprecedented opportunity to hire great talent. The opportunity comes from layoffs, furloughs, and pay cuts hitting talented workers.

Weaknesses

Layoffs: Restrictions imposed to limit the spread of the coronavirus created severe

financial strain on businesses. To cope with stress, many businesses cut-down their workforce. The layoffs crippled many businesses, many of them closing down.

The creative industries - from film, to fashion, to creative digital - are now widely

recognized as a thriving part of the UK economy, contributing £111.7 billion in gross value added (GVA) and employing 2.1 million people. However, the sector faces significant challenges, not only as a result of the COVID-19 pandemic but also issues relating to business size, skills and diversity.

Closures: Many enterprises saw a dramatic decline in patronage. For instance, the

crisis wiped out the cruise industry overnight. Since businesses had fewer people to cater to, the excess infrastructure and logistics became a liability. Thus, to cut losses, many companies closed their outlets.

Safety Concerns: In the early months of the pandemic, businesses weren’t clear on

how to open safely. Even after governments relaxed restrictions, businesses didn’t have the money to create the environment needed to reopen safely.

The social distancing measures: Implemented globally in order to slow the spread

of COVID-19 have led to the closure of cultural spaces, the cancellation of cultural events and a suspension of much community-based practice for cultural practitioners. COVID-19 is already having a devastating impact on the cultural sector, with jobs being lost and live audiences wary of returning. It is predicted that the impact of COVID-19 on the cultural sector will have long-lasting impacts, changing cultural practice and engagement as we know it. Many cultural organizations and practitioners have responded rapidly by creating opportunities for cultural engagement within the digital space. There is thus an urgent need for learning relating to supply/demand of cultural activity in the digital space and whether the crisis will replicate, exacerbate or temper existing inequalities in cultural production/consumption both during the lockdown period, and after restrictions begin to ease. While there have been attempts to measure the impacts of COVID-19 on the cultural sector it has so far been fragmented in nature. There is very little work which has examined the impacts of COVID-19 in depth across the range of organizations/practitioners who fall within the sector.

Work-from-Home: Companies extended work-from-home as a privilege. However,

with COVID-19 lock downs in place, companies were compelled to have staff work from home. Working from home made it harder for companies to ensure compliance and accountability.

Morale and Mental Health: Financial stresses, combined with social isolation,

adversely affected the psyche of the workforce. With no apparent end to the pandemic in sight, uncertainties regarding the future continue to build anxiety and fear.

Threats

Lockdowns: The first lockdown in the UK shrank its GDP by 25%. With the second

wave of infections surging, the country is heading for a second lockdown. Unfortunately, the pandemic may leave the UK government with no other choice. Even worse, this situation isn’t limited to the UK. At a time of huge uncertainty in all areas of the economy, including the creative industries, many are trying to understand the ongoing impact of COVID-19 on our sector. Public venues, freelance workers, and micro and small businesses are important features of the creative industries, and all are threatened by the pandemic.

Policy: While government policies have sparked the growth of online shopping

businesses, the same policies have doomed other sectors.

Isolationism: A rapidly spreading contagion is a good enough reason to put the

country’s need ahead of international allies. However, the “always look out for number one” policy comes at the price of international relationships.

Drop in Purchasing Power: With people struggling to make ends meet, businesses

catering to low and middle-income groups are suffering.

Cultural Policy- What affects me and why?

One of the policies that affects me positively and negatively is culture

is strongly rooted at a local level; it draws on and reflects the rich

diversity of our communities, or “the riches of our culture should

benefit communities across the country” because for people who are

planning on doing freelance and self-employed, they can struggle

with finance; doing the work is only half of the freelancing job. The

other half is getting paid for it. Some will have the honest intention to

pay you. Furthermore, it just so happens to lack the funds by the time

you deliver the project (usually because something more urgent came

up). Others will deliberately try to con you from the start. Freelance

artists are responsible for sorting out your pension, business

expenses, equipment, electricity etc. Also, freelance artists must pay

their own taxes. However, there can be some pros to this e.g. Getting

the right balance of funding between London and the regions

continues to require attention. Arts Council England is committed to

supporting culture outside London. As a freelancer, you get to keep

any profits stemming from your labor. If you manage to land a big gig,

all the spoils will go directly to your bank account — not to bonuses

for the upper management.

Another policy that affects me positively is everyone should enjoy the

opportunities culture offers, no matter where they start in life

because the creative industries are remarkably diverse. These

opportunities should be available to everyone, wherever they begin in

life. It is only when those opportunities are universally available that

we will be sure that we are making the best use of talent, one of our

greatest natural resources. Most clients have no reason to care where

you get your work done, they just care that you do it. This gives you a lot of freedom. Working freelance, your success is suddenly completely in your hands. You will learn a LOT about yourself when you only have yourself to blame, and really have to analyze your habits, your weaknesses, your strengths, your beliefs, in order to try to become a successful freelancer. Sometimes you get incredible creative freedom with some clients and projects; other times - you get to bring someone's imagination to life. It is not always creatively free, but knowing you give life to someone else's passion is a good feeling.

Finally, another policy that affects me positively is the power of culture can increase our international standing because this makes us people in the creative industries an artistic freedom. Artistic freedom (or freedom of artistic expression) can be defined as "the freedom to imagine, create and distribute diverse cultural expressions free of governmental censorship, political interference or the pressures of non-state actors." Generally, artistic freedom describes the extent of independence artists obtain to create art freely. Artists also confront other, more invisible, forms of suppression, such as self-censorship on the basis of gender and sexuality, or the fear of losing financial or institutional support, causing offense, or ‘provoking’ violent public and media reactions, harassment and threats in which censorship may be disguised under ‘noble’ concepts such as ‘cultural sensitivity’. The result of these pressures is that expressions of creativity may be aborted before being formed or developed in stunted form. Many cultural organizations are overly cautious about the possible legal, financial, or public relations consequences of supporting challenging work. We need to build a robust defense for artists’ rights to create work that pushes boundaries and promotes debate about controversial issues. Artistic freedom of expression is vital if we are to have an open cultural space in society.

Freedom: There is no right or wrong way to be creative. When we create, it gives us the opportunity to engage with the world without judging ourselves. To return to the

feeling of freedom we may have experienced during childhood. Where we did not have to know or be an expert. It gives us permission to take risks, try new things, and strip away inhibitions in a healthy way.

Self-awareness and Expression: Creativity is the route to authenticity. As we create, we begin to access our thoughts, feelings, and beliefs. When we take the time and energy

to develop our own ideas, we learn to understand, trust, and respect our inner self, in turn enabling us to better express ourselves. You may be surprised at the resources, thoughts, and impulses that you discover there.

Faith and confidence in our instincts: When we create, we may start to value our work, even if it is not published, displayed, or presented to the public. We can learn to trust

our instincts and gain confidence from expressing them. This confidence carries over into decisions we make in other areas of life.

Stress Relief: Being creative is meditative. Taking the time to use our hands, minds, and energy doing something we enjoy and that makes us happy is of highest importance in

life. Creativity is fun and doing anything that brings joy reduces our stress levels and improves our quality of life.

Problem solving: There is not a manual to being an artist, and there is not a manual for being alive. Obstacles and challenges throughout life are inevitable. However, when we

make creativity a habit, we continue to learn new, resourceful ways of solving problems in our artwork, and in life.

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Budgetary and resource requirements

Business Model Case Study

Deep Sea Prisoner/Funamusea

Japanese Name: 海底囚人
Romaji Name : Kaitei Shuujin
Location: Kanagawa Prefecture
Status : Active
Species: Human
Gender: Female
Affiliation : Funamusea
Occupation : Artist, Video Game Developer

Deep-Sea Prisoner (海底囚人), commonly shortened to DSP, is a Japanese artist and game developer formerly known as Mogeko. She is well-known for creating games such as The Gray Garden and Wadanohara and the Great Blue Sea. She is a talented person working to create various games, comics, and other stories through various forms of media. Deep-Sea Prisoner has an official website, a Twitter, an Instagram

and a YouTube account. She can also be found on a multitude

of other websites these days, with various new projects she is

working on: Linktree. She used to have a Tumblr blog, but has

since deleted it due to certain circumstances. I love her art

style because it has a beautiful atmosphere and I love the

character designs and development. Even though my artwork

uses my own art style; my art style is inspired by theirs,

whereas mine is bolder and graffiti like.

Games include:

Mogeko Castle (originally released in 2012, remade in 2014)
The Gray Garden (2012)
Wadanohara And The Great Blue Sea (2013)
Carnival Rhythm (Currently in development)
General Hashasky's Great Adventure, the sequel to Mogeko Castle (Currently in development)
The End of the Wonderland (Currently in development)

Other works include:

A manga adaptation of Wadanohara
Ice Scream, various comics and small games featuring a cast of artic animal-people
Obsolete Dream, a Webcomic featuring Kurotsuno the demon and her "friends"
Poison Bug, a short animation
Curse of the Sun, another short animation

Creative process and environment

Deep-Sea Prisoner draws with a tablet pen. Most of the situations in her works - when they happen, and what feelings she’s meant to invoke - and materials are planned in a single notebook, or memos that are used while working. The order is:

Decide on a rough timeline of events
Memos and materials
Start creating when almost finished (little details are made up while making it)

Upon creating a story, they particularly focus on the relationship between characters - who hates who and who likes who. Deep-Sea Prisoner has said that, with the exceptions of humans and some other groups, everyone in their creations is bisexual and ideas such as gender and age are left as an afterthought in the creative process. (Wiki, 2020).

Here is an example on how she design her story and her process in one of her interviews on making Wadanohara:

“First of all, I wanted my game to have a fairytale-esque atmosphere. I tried to alternate components based on myths and popular beliefs and parts of the story I created by myself. Also, I wanted to make my characters move. In the end, I came up with a game with a sea setting and a witch protagonist named Wadanohara. By the way, I decided the title (in Japanese, Oounabara to Wadanohara) after I determined the main points of the plot. At the beginning I wanted to add some more violence, but in the end I censored myself.

What is the thing you care about the most during your creation process? - The relationship between characters. Who likes who, and who hates who...There are also times when I

really want someone to kill someone else.

Tell us about your work space and your production flow. - Nowadays I’m drawing on a really old graphics tablet. It depends on the situation, but I usually keep a notebook next

to me to write down story plots. My production flow is something like: decide where I’m going roughly -> write down the story -> once it’s all set up, I start with the drawings. (I tend to think about the subplots while I’m drawing.)

Characters are an important part of Wadanohara and the Great Blue Sea. How did you come up with their design and personalities? - I develop my designs in different ways:

sometimes I base them on animals, or start from a certain color scheme. Sometimes I choose a motif and go on from that. About their personalities, I tend to decide that part after I make my characters talk in the game or in the manga. There are also times when their personalities change while I’m drawing.” (Pixiv, 2015)

Website- http://funamusea.com/

funamusea.com is the name of Deep-Sea Prisoner's personal website. Launched on April 21, 2006, the site is hosted at http://funamusea.com. It was

originally at hokannko.web.fc2.com, and was moved to uvoa.web.fc2.com from 2009 to 2011, and then to okegom.web.fc2.com from 2012 to 2014. The

site is used as a hub where Deep-Sea Prisoner uploads her creative media, which includes: personal blogs, sketches, comics, artwork, and games. The

website itself is divided into several sections: TOP, About, Stories, Character, Artworks, Shop, Sunahama, Guidelines, Commission, and Contact.

TOP

The page that viewers of the site usually end up on first is the TOP page. The TOP page is where the updates concerning the

development of her games, new releases of media, or merchandise are. Links to updates are at the bottom, and links to the

other sections alongside her Twitter, Ci-en, and YouTube accounts are to the right.

About

The About section contains some minor details regarding the website itself, a few of Deep-Sea Prisoner's policies, and some

details about her. Contact information for DSP can also be found, being her email address, YouTube, and Twitter.

Stories- http://funamusea.com/stories.html

The Stories section contains all of the major stories Deep-Sea Prisoner has created. Stories listed in this section are however

not the only ones she has created, as she has explored her combined universe in comics located in the Sunahama section as

well. Stories contained within the Stories section each have a dedicated page marked with a small banner. Their order is as follows:

(December 2012) - The Gray Garden
(February 2020) - Wadanohara and the Great Blue Sea -Reboot-
(December 2013) - Wadanohara and the Great Blue Sea
(March 2015) - The Sun's Curse
(July 2014) - Ice Scream
(August 2015) - Poison Bugs
(March 2014) - Obsolete Dream
(April 2012) - Mogeko Castle
(March 2017) - Seaside Dispatches 1 and Seaside Dispatches 2

Towards the bottom of the page they can be found listed in order of release; although the list does not factor in the release dates of games that have

been remastered, such as Mogeko Castle. In the past, there was a second page of the Stories section which contained upcoming stories. As of March

2018, Deep-Sea Prisoner has removed the link containing upcoming stories, but story links themselves can still be accessed. The reason why Deep-Sea

Prisoner deleted this link is unknown. The upcoming stories previously included on this page were:

[added January 2015] Carnival Rhythm
[added January 2015] General Hashasky's Great Adventure
[added August 2015] The End of the Wonderland
[added January 2015] The Great Sinner of the Dawn
[added May 2015] The Glorious Sea Kingdom
[added August 2015] Deep-Sea Story - The Star-Guided Boy-
On the Sea Below the Sea
Tomorrow I Died
Reficul the Devil and Friends
Ivleeching (Buri~ing)
The Gray Garden (Definitive Edition/HD Remake)

Character- http://funamusea.com/character.html

Each character with an official portrait is assigned a character code. Not all of DSP's characters have been given

a portrait however (and in turn a code); some characters lack official portraits and character codes, and some

even lack names. Currently, 291 characters have official portraits, with two hidden ones (Mogeko and Moge-ko)

that can be discovered by clicking on Nataka Kurokawa's character portrait, and then clicking the button that

navigates to the previous portrait. Some characters also have more than one portrait. These can be accessed by

navigating to such a character's page and clicking on the shown portrait, which will link to the alternate portrait.

The exceptions are Lil and Envi , who instead have a button to switch between their male and female portraits.

Characters with more than one portrait include:

Beniduru
Chlomaki
Elux
Hanten
Kisaragi Alice
Kurotsuno
Licorice
Lil
Malice Bloodless
Met
Olie

A few characters also have radar charts, displaying how their personality traits are spread in 5 aspects. Coupled

along with the radar charts are HD sprites of the character in question. Above the character's sprite is their character code number (番号) and their

name (名前). Characters possessing charts include:

Etihw
Igls Unth
Ivlis
Kcalb
Met
Reficul
Satanick
Shirogane
Siralo
Yosafire

Located towards the bottom of the Character section are two icons, one icon depicting Etihw playing with a Kcalb doll, the other depicting Kcalb playing with an Etihw doll. Clicking on the Etihw icon will navigate to a random character portrait while clicking on the Kcalb icon will navigate to the second Character section page. The second page organizes the character portraits into sixteen categories, which have been speculated to be based on species. The categories are denotedonly by symbols, and as Deep-Sea Prisoner has released no statements in regards to their meanings, the symbols are up to interpretation by fans. The meanings of some symbols are commonly held to be true, while others are more ambiguous with their meaning. Common interpretations of the symbols include:

Star Symbol - Gods
Crown Symbol - Devils
Moon Symbol - Shinigami
Angel Symbol - Angels
Devil Symbol - Demons
Eye Symbol - Tenma (Angel/Demon Hybrids)
Pumpkin Symbol/Star of David Symbol - Witches/Wizards
Rose Symbol - Vampires
Tengu Mask Symbol - Yōkai
Ghost/Skull Symbol - Undead
Plant/Spinning Stars Symbol - Food/Object Gijinkas(?)
Animal Symbols - Animals
Humanoid Symbol - Human

Artworks

The Artworks section, formerly known as the Other section, contains a number of things.

Section one features Deep-Sea Prisoner's Live2D artworks, Design layouts, and Illustration Works.
Section two shows her high quality art illustrations and a link to her Skeb Commissions page.
Section three then shows Other illustrations, alongside a number of things below it, including:

The Sunahama log directory can be found, numbered from 1 to 88.
Five links titled "JUNK" link to pages that contain Deep-Sea Prisoner's rough sketches.
Two links titled "gyaku" (reversed, or opposite in Japanese) link to pages that contain Deep-Sea Prisoner's "genderbent" characters, or characters

drawn in the style of their opposite gender.

Four links titled "neko" links to a page that contains drawings of characters if they were drawn as cats.
"Mini" lists miniature images of minor art and some characters.
Six links to past website headers (過去のヘッダー).
Pixel sprite art (ドット絵).
"Top" features the TOP image of Wodahs from the front page of the blog, along with an alternative image of him and Grora. Underneath this

section features all of the Mini comics (小説). At the bottom of the Artworks section are links to stickers Deep-Sea Prisoner has designed (販売中), as

well as free downloads of some of Deep-Sea Prisoner's media (配布中). There is also a featured character popularity poll from 2017 and a special

"Thanks!" link to fans who have created media for Deep-Sea Prisoner.

Shop- http://funamusea.com/shop.html

The Shop section is where Deep-Sea Prisoner displays her merchandise, which can be purchased online.

Four links at the top of the page give access to her Amazon, Alice Books, Booth, and Suzuri. Afterwards,

follows a few sections on products that are available:

Section one features Comics:

Three paperback volumes of Wadanohara and the Great Blue Sea.

Section two features Books:

A paperback volume of Seaside Dispatches 1, the Halloween in the Sea artbook, and Seaside

Dispatches 2.

Section three features Goods that have been featured on her Booth and Suzuri shops.
Section four contains a Painting - "Ebi Panic" featuring Lobco.
Section five is Other, which contains stickers for LINE.

Sunahama- http://funamusea.com/other.html

The Sunahama section is where the majority of Deep-Sea Prisoner post sketches, minor blogs, comics, as well as

other miscellaneous media. The Sunahama section was heavily changed on 11/19/2018 and now is a blog, with tags

that separate the posts in categories (art, news, ci-en, and others) and a date archive that helps to search for

specific posts. The old Sunahama can still be accessed through a link in one of the earlier posts. The Other section

contains the directory for Sunahama Logs.

Guidelines

The Guidelines section is a pop-up window which contains instructions and policies on what is acceptable and unacceptable in regards to

Deep-Sea Prisoner's content. In the realm of fan works, doujinshi, live streams, and cosplay, these are acceptable as long as they are purely

for non-profit use. Regarding live streams of gameplays, please read the ReadMe that comes with each game file. Things that are not

permissible include redistribution of DSP works as one's own, work that intends to cause harm/slander, intent to profit from her works,

anything that violates public decency, and other such problematic behaviors.

Commission

The Commission section is where Deep-Sea Prisoner's listings for commissions of her work

can be found. Two tabs will give options in both English and Japanese.

The first section details the pricing and options listed for Live2D work.
Section two will direct to illustration commissions with a link to her Skeb account.
Section three outlines other commissions that include stream overlay designs,

illustrations for videos, and portrait illustrations.

The last section provides methods of payment that one can use when commissioning

DSP.

These include trades from Booth, ci-en, and Nizima's "made-to-order." Her email can also be found there in order to contact her for such things.

Contact

The Contact section will provide a way to contact Deep-Sea Prisoner through her email or through the mail form provided.

Clicking the link to the mail form will take you to the "Lighthouse" form where the title, user's email address, and the body of

the message can be added, respectively.

Others

The website's sections used to be titled in Japanese. Sometime during the spring of

2017, Deep-Sea Prisoner changed the section titles to English.

When navigating the pages contained in the Stories section, certain age-restricted

games will prompt you with a warning prior to accessing the page in question. If you

agree to the terms provided, and claim that you are over the age rating of the page

(はい), you will be navigated to the respective story's dedicated page. If you choose the

other option (いいえ), which is that you claim you are younger than the game page's

recommended age rating, you will be navigated to a mini-game in which you spank a Mogeko with a paddle.

In conclusion

I looked further into her website and the artwork/illustrations that I love. I personally think that her website is really effective because it came across really simple and clear. Due to the homepage it shows an illustration and a range of links (ABOUT, STORIES, CHARACTERS and more). Furthermore I like the mouse. It shows a little character on the mouse because it's really interesting. Overall, I think that the name and the website is really effective because as an illustrator she gets the job done and the art style gets a lot of attention. Her homepage is really clean, she uses a range of fonts. The best way to contact her is through email or her Twitter. Deep-Sea Prisoner knows a minimal amount of English, so do not be afraid to attempt and approach her with simple English. Additionally, Deep Sea Prisoner says that when she receives something in a language that she doesn't understand, she makes good use of translation sites. I looked even furthering on her website and I clicked on CHARACTERS and there is two links and one link it shows all of the characters DSP created for different stories she created (it looked like a book) and another link looks like all of the characters are in different sections explaining species e.g. the pumpkin and pentagram star means witches. I find this pretty interesting because it gives me an idea on how I should represent my characters and stories in that sort of format.

Ways to Support

Deep-Sea Prisoner has a variety of ways in which fans can support her, one main way being that of Ci-en - where people can get access to exclusive content and behind-the-scenes of certain projects she is working on before they are released. Another method is through Booth, where she sells her merchandise, alongside Alice Books, Amazon, and Suzuri. Deep-Sea Prisoner has also started dabbling in the world of Live2D, and she has begun selling her creations on Nizima.

Contact

The best way to contact her is through email or her Twitter. She is very approachable and friendly to her fans. Deep-Sea Prisoner knows a minimal amount of English, so do not be afraid to attempt and approach her with simple English. Additionally, Deep Sea Prisoner says that when she receives something in a language that she doesn't understand, she makes good use of translation sites.

Bibliography/References

Branding IV

Sega

It is common practice for most big corporations to use a logo that makes people associate their products with the brand they represent. Sega, a third parting game developing company, is no exception. When people see its logo, they think of video games.

Meaning and history

The Sega logo looks relatively simple at first sight. After a closer look at it you see that it is not at all simplistic. What is more important, it reflects the company’s history. In the very beginning the company was called “Standard Games”. It may seem surprising, but the brand created in Florida and engaged in the supply of military game goods like pinball equipment, was initially called the “Service Games of Japan”. Who could have thought in the middle of the twentieth century that Sega would become the world leader in the development of arcade-style computer games? 550 games created for personal computers have turned millions of young people into true fans of PC virtual reality. A bit later it got a new name ‒ “Service Games”. The name everybody knows today, that is Sega, is its abbreviated version.

1945 — 1959

The logo's history began in the 1940s. The earliest Sega symbol, as well as the later ones, was a word mark logo. It featured the

lettering “Service Games” in black. It was hand-drawn, which was in line with the style of the 1940s.

1956 — 1975

Since the 1950s, the word mark has been showing the word “SEGA”. From the 1950s to 1976 it was red with a black outline or just red. Due to the

unique typeface invented presumably by Sega, that Sega logo is sometimes referred to as a spiral logo. It sometimes appears in black. There is no

information about the precise date of its creation, yet, some examples of its use show that it already existed in 1958. In the 1960s, alongside the main

logo, some products were marked with a “mysterious” Sega emblem. The letters were white with a blue outline and were on a black background.

1975 — 1982

In 1976 the company adopted a somewhat futuristic design. The font was blue with multiple white stripes. The current Sega symbol is primarily blue

text on a white, sometimes black background. The letters are divided by a white line.

1985 — Today

The blue word mark was slightly tweaked without changing its overall style. But this emblem isn’t the only creation Sega is associated with. There

are more than 100 variations of the Sega logo, with characters from their games incorporated in them. Yet, the basic design remains the same, due

to which the company manages to keep its familiar look. Besides the main logos that are available in png and svg formats, there are logos with different effects.

Font

The current logo most probably derived from the Yagi Double typeface which was widely used at that time. Later the company introduced

some modifications to the typeface. Thus, the letter “E” was elongated and squared off as well as the letter “G” to match it. The “A” became

thinner.

Color

The official color of the Sega emblem is cobalt blue. It contrasts brightly with white, and the logo pops out at you. International markets

typically use a darker blue for the Sega wordmark. The exact reasoning for this is not fully understood - it is thought Sega of America made

the change to better suit its market in the 1980s, although it could easily be a mistake which stuck and was adopted into the official

guidelines. It is speculated that the Japanese color scheme is meant to convey a more child-friendly attitude based on research into color theory. In video games, where color palettes can be limited, the typical aim was just to make the logo a shade of blue, rather than worry about the precise tone. This distinction is usually only made in print, such as with video game box art or promotional material. When printed on a dark background, a variant with a white border is preferred. A second blue border has also been used in the past in certain situations. The logo also varies in shape depending on the required size. Official guidelines dictate that a logo with thicker internal lines should be used between 2.5mm-7mm (or silkscreen) printing, with a more uniform design used for sizes greater than 7mm. Distances are presumed to be heights.

Ideal Proposal

The choice I am going to make for my own case study/creative brief is I'm planning on doing my own brief for my business. The ideas I’m planning on doing my proposal is setting a Fiverr account and trying to post my work and set a price, also the ideas I could develop is creating a range of character illustrations and for my projects/works or I could do work for others for their projects. If I gain a lot of attention you can get a place working on many other types of companies and also hire concept artists - including: animation studios. film and television studios etc. Art commissions and YouTube Patrons can donate money to you and help you create more content and gain more attention and lastly gaining a name for myself in the games/animation industry and as a concept artist/writer/animator.

Self-assessment & taxes