It’s very likely they will instead begin to experience,
And in real time,
And if they’re out there dancing with life
Instead of securing themselves against it,
There comes a very real threat to the security of something else.
Fiddler Jones by Edgar Lee Masters
The earth keeps some vibration going There in your heart, and that is you. And if the people find you can fiddle, Why, fiddle you must, for all your life. What do you see, a harvest of clover? Or a meadow to walk through to the river? The wind’s in the corn; you rub your hands For beeves hereafter ready for market; Or else you hear the rustle of skirts Like the girls when dancing at Little Grove. To Cooney Potter a pillar of dust Or whirling leaves meant ruinous drouth; They looked to me like Red-Head Sammy Stepping it off, to “Toor-a-Loor.” How could I till my forty acres Not to speak of getting more, With a medley of horns, bassoons and piccolos Stirred in my brain by crows and robins And the creak of a wind-mill–only these? And I never started to plow in my life That some one did not stop in the road And take me away to a dance or picnic. I ended up with forty acres; I ended up with a broken fiddle– And a broken laugh, and a thousand memories, And not a single regret.
“The digitized picture has broken the relationship between the picture and reality once and for all. We are entering an era when no one will be able to say whether a picture is true or false. They are all becoming beautiful and extraordinary, and with each passing day they belong increasingly to the world of advertising. Their beauty, like their truth, is slipping away from us. Soon they will really end up making us blind.”
As a studio art major in an American college, I had a professor of photography and film who told me there was a time when Da Vinci’s Mona Lisaexisted in only one place, and you had to travel a great distance to view it.
That one place was The Louvre in Paris.
Now, he said, the Mona Lisa exists everywhere, and all at once.
(Well, actually “now” was back then in 1998. He was referring to photographs and printed versions of the Mona Lisa at the time, when the internet was still just emerging, public content-wise. But I think his statement is only more true today.)
What is the difference between looking at an image of the Mona Lisa and traveling to the Louvre to see the real thing?
It’s not that one is wrong and the other is right.
But what is the difference?
And what are the possibilities or consequences of technology advancing further and further into the virtual?
What is the difference between pornography and a flesh-and-blood human relationship?
What is the difference between buying into a brand and creating your own?
What is the difference between accepting what you were taught and questioning the nature of reality?
In the early stages of coming up with the idea of the DrawBag, I needed to learn about the US patent process. This included initial research into prior patents and then the drafting of both a provisional application to patent and a later design patent.
Although having read alot of useful information available online, I ultimately decided to pay for consultation as it would my first time to draft and submit a patent application. To find a suitable consultant, I used the freelancer website Upwork and eventually settled on the very generous and professional Brad Muise, Ph.d.
As part of a series of blog interviews with individuals who helped me learn and launch the DrawBag in 2017, I recently messaged back and forth with Brad to talk about patents and the process we went through during the summer of 2017.
John: Hey Brad. So how long have you been freelancing on Upwork, and what services do you provide?
Brad: I have been freelancing on Upwork for several years now. I enjoy it very much. I work with inventors like yourself everyday and assist them through the innovation trail. I do everything from concept sketches, 3D computer modeling, prototype development, 3D printing, CNC machining, patents, sell sheets and more.
John: What’s your experience been like using Upwork?
Brad: Upwork has been great. At first I thought it was not viable, but over time the work started to grow and as my rating improved the work become more available and more exciting. It seems to be the future of work so I feel very fortunate to be on the platform now.
John: So you helped me in the very early stages of the DrawBag, before I’d done a first manufacturing run or even fully revised the design. I think I had a first prototype done back then. What did you think of my design when I approached you?
Brad: Your skill set tends to be above most of my clients who have no patent experience. You seem to be very artistic and captured your idea well because you can draw. Plus you were very focused in how you perceived your idea. Which was also a great idea by the way.
John: Thanks! I remember you being super-supportive during those early days as I was still figuring it all out. Like me in those early days, there may be others who are confused about the differences between a design, utility, and provisional application to patent. Can you explain those briefly?
Brad: There are a lot of perceptions surrounding patents. The simple story is that the utility patent protects functions and the design patent protects the external shape. Provisional patents are not exactly protection, rather they are a place holder for the utility patent. Once the utility is approved it gets backdated to the provisional. Its my understanding that no one goes to do battle in court with provisional, but having the ‘patent pending’ status it provides can intimidate copy cats until the utility is completed.
John: What was the most interest patent you worked on?
Brad: I am not allowed to discuss my patents but the most interesting ones tend to involve drones and internet of things. There is a great deal going on in these arenas. It’s always interesting to gain insights into the future and working with inventors is kind of like a crystal ball.
John: Still speaking generally, what about some really odd ones you’ve come across?
Brad: Military inventions are difficult to get through the patent office. Not sure why this is, but Im sure there are more stringent issues related to these that we may not even be aware of.
John: Although you aren’t a patent lawyer, you have a lot of experience researching and writing patents. How did that happen, and what advice would you give to a small startup who needs to consider the patent process but doesn’t have a lot of money to put into a patent lawyer for research or writing?
Brad: Anyone can write and submit a patent. The USPTO states it directly on their website. For simple inventions I always encourage my clients to submit the documents themselves. The provisional patents are much simpler than the utility patents and writing a summary of the invention according to the rules setup by the USPTO should be within everyone’s reach. If the invention is very complex and someone is seeking a utility patent, its best to have someone with experience involved. The lexicon of the utility patent can be very confusing and the claims language can be down right weird. But its all written in a very defensive manner so it tends to break all the rules of grammar and sentence structure you learned in school.
John: Yeah, I remember that when I read one of your first drafts of a patent for me. I was like, “Does this guy even know how to write?? This sounds bonkers in several places.” I guess Grammarly can’t really be applied to patent writing at this stage.
Let’s talk about patent figures (drawings). How good of an artist does one need to be to submit these? Would you recommend a small startup pay for a patent artist to do these?
Brad: The figures do need to be clear. The USPTO will reject any figures with shading and colors so it is good to find someone with CAD engineering experience. I was a CAD operator when I was young so I’m fortunate to be able to write well and generate good figures.
John: As I learned more about the patent process, as well as protection of patents, I realized it may not always be in one’s best interest to patent a design. Countering potential infringement is not necessarily easy, and what specifically is protected by a patent is also up for interpretation by the USPTO and according to how the patent is written. Do you have any “rules of thumb” about how to determine if a patent is right for a product or not?
Brad: This is a very good question. Not everything needs a patent. Certainly conducting a search of prior patents is the least you should do before you jump into an invention so as not to step on anyone’s toes. The patent office does not protect anyone per se, it’s merely a library of sorts – protection is your attorney’s job. So if you see another patent with your idea and are looking for a battle, then you need to have deep pockets. Patentability is about risk – there is always overlap between patents, and how much overlap you find acceptable with your invention can only be answered by you as the inventor. It’s always about risk.
John: If there’s someone looking to patent an idea and they would like to get in touch with you for support, what’s the best way?
The “Track Light” series serves to briefly introduce a number of individuals involved with the One World Artist Gallery (OWAG) from their various places around the globe.
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Today, I talk with South African mixed media artist and illustrator Derek Brown.
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John: So, Derek, where did you grow up and where do you now call home?
Derek: I grew up and still live in Johannesburg, South Africa.
John: Tell us a bit about that.
Derek: Jozi is wonderful. You have to be on your toes but it’s a beautiful place with awesome people and even better weather. Growing up here has been amazing and continues to teach me about who I am as a person in relation to our dynamic culture.
Graffiti in particular has taken a big step up in its quality in Johannesburg. There’s so much talent out on the streets and I’m honored to be a part of this really special thing being cultivated down here even if it’s only a small part for the moment.
John: From your Instagram account, it looks you do a bit of motocross, yeah? South Africa has a history of some top riders, including DH mountain bikers, which I really dig.
Derek: I agree, South Africa knows how to produce a classy champion or two. My brother Barry and I grew up riding and racing bikes and still try get out as much as possible. I’m more into the mountain biking and jumpers these days and having crazy fun thanks to the foundations motocross gave me.
Unfortunately, my free time is limited because I’ve recently taken a fantastic tangent in my career, moving away from multimedia and graphic design into 3D industrial design alongside my brother in our company, Tim Mabel Design. I’m also doing original art projects and commissions as much as I can between the day-to-day work.
Balance in life is key I believe… I refuse to have my time filled only with work. Physical activities like motocross and mountain bike riding (and hiking and building on hillsides for trails and jumps), boxing and more recently, carpentry and metal work all help me have fun, release stress and think differently allowing me to express myself in new and different ways.
John: Do you travel much for work or leisure? Any favorite places in the world?
Derek: I wish I could travel more for either. It’s a goal of mine to work overseas with my art. I can’t pick a favorite place in the world, but I will let you know when I find it. Holidays are proper luxuries these days but looking forward to one soon. Regardless of what I am doing though, I almost always have a pen and paper with me. Or my camera.
Derek: Sounds good. I also hear Canada has some super cool riding.
John: Absolutely.So your style is rather unique– it feels like a bit of biro and notebook scribbles plus street art. How has it developed over time? When did you get started?
Derek: I’ve had the odd notebook full of scribbles, so you got me there. My dad taught me to draw cartoons when I was really young and I haven’t put down a pen since. I studied multimedia design and also had the very fortunate luck to have an excellent art mentor for a number of years, too.
John: Where do your inspirations come from?
Derek: My process of art-making is to have lots of fun and ultimately enjoy what I’m producing. Simply trying to do the best I can with what’s available at the time. Learning is a big part too. Everyday. About myself and the way I produce and channel my creativity. Unless I’m being paid or have a passion for a piece, I scrap or shelve work very quickly if the energy fades.
I have an amazing bunch of close people (family and mates) from whom I draw inspiration and direction. Most of them are successful creatives in their own right so we have similar mindsets and the ideas flow openly. I find strangers serve well for unexpected insights and then finally, opportunities to work with exciting new people like yourself on projects like the DrawBag has been so cool and really motivating.
Up-cycling and re-purposing are always a bonus… I’m a big fan of a waste-free world. I hate to ignore the potential to transform something most would considered as scrap or trash into a contemporary work. Creation is my aim, what it’s achieved with is negotiable.
John: Favorite artist?
Derek: Picking a favorite is difficult… I enjoy different things at different times. But Pablo Picasso would be one of my favorites. I dig his style. To me, his simple illustrations are beautifully unforced.
John: And who or what do you make art for?
Derek: In the past, I created art mostly for myself as it came very naturally to me. It was an organic practice… I was always drawing and thinking on concepts. Now, I have a more considered approach to making art for people and businesses who value the work I’m producing and are interested in the various applications that it can be executed on, in, or for. And then still for myself when I get the chance… I also love hitting up a dirty wall with some fresh cans or rollers or simply getting the camera out and shooting what’s in front of me.
John: Where did your design for your DrawBag come from? Is it something like a stream on consciousness or are there some intentional, hidden messages in there?
Derek: I had no idea how it was going to turn out when I started. The content defines itself as I work. There are definitely some deeper meanings to some of it… I drew this during a time when I was starting to find some balance in my life and focus on a new direction.
John: I think alot of artists work this way, at least from time to time. It can be difficult to trust that the work will in some ways become apparent without forcing or deciding early in the process, right? But that’s where alot of great ideas and work ultimately can come from.
So, if anyone wants to connect with you, what’s the best way?
The “Track Light” series serves to briefly introduce a number of individuals involved with the One World Artist Gallery (OWAG) from their various places around the globe.
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Today, I talk with Mexican painter and street artist Antonio Emmanuel Hernández Torres (Sune Nesu).
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John: Hey, Sune. So, is “Sune Nesu” your real name? It sounds like a combination of the four letters E-N-S-U in two different ways.
Sune: Hi, friends! No, Sune Nesu is not my real name. It’s exactly what you say… a combination of letters in two different ways that I liked and that looked good in graffiti. I liked how it sounds. My real name is Antonio Emmanuel Hernández Torres.
John: How many years have you been painting?
Sune: I’ve been painting since I was quite young. I first started doing graffiti and public murals in 2009, but it wasn’t until 2014 that I started doing it more seriously. It was then that I decided I wanted to devote myself fully to the world of art.
John: Where did you learn to paint? Did you receive any formal training at school or elsewhere?
Sune: I always say that I learned to paint in the hospital. I say this because at the age of eight I was suffering from chronic renal failure, and this caused me to stay for long periods in the hospital. The way I entertained myself at that time was painting. By the way, I currently have a kidney transplant that my father gave me and I have been healthy by the grace of God for sixteen years now.
Regarding school instruction– I studied Visual Arts at the Artistic Initiation School #3 of the National Institute of Fine Arts (INBA), and I also took a number of free art workshops in my city.
John: Your work often seem to focus on animals, or combinations of different animals together, with wild colors and patterns. The DrawBag you painted is done in this style as well. How did you start painting in this way?
Sune: This style originated from my love for animals. Apart from painting, what I love most is learning more about animals. I love watching documentaries about them.
The idea of combination arose one day during a trip with my family to the state of Veracruz in Mexico. I found myself in a landscape with many trees and different types of animals. I remember that I was carrying my sketchbook with me, and I simply started to make my very first drawing that mixed together all the animals that I saw that day. From then on, my style was defined and I was able to continue creating more and more fantastic animals.
John: How does your Mexican culture or heritage influence your artwork?
Sune: My culture and Mexican heritage has helped me a lot in regard to my artwork developing. People who see my style of combining different creatures often say that these fantastic animals are alebrijes.
The alebrijes are 100% Mexican handcrafts created by the artisan Pedro Linares López originally in 1936, and the alebrijes have been a great inspiration for my own art. The many legends and stories of my country have also had a strong influence on my art, as well as its different locations and landscapes.
John: That’s interesting because Pedro Linares discovered the alebrijes when he was also very sick and began to have visions. Do you see any spiritual or mystical meaning behind your animals?
Sune: Yes, I know… this connection with Linares is very interesting and inspiring for me! The meaning that I would give to my fantastic animals is that we live in a world that I must fill with colors– these creations have made me strong in my difficult moments, and it is a gift that God has given me to use in order to paint the whole world.
John: Do you work with other artists in Mexico?
Sune: Yes, of course I have collaborated with other artists from Mexico. Although recently, I have been working mostly on my own.
John: What else do you do when you’re not painting… or learning more about animals?
Sune: Even though I spend most of my time creating art, I like to do different things, too. Maybe I’m kind of weird. I love reading comics, playing video games, going out with my family, and going out with my friends…
John: Well, that sounds pretty normal to me, haha. So how can people see more of your work or get in touch with you, Sune?
I’d like to thank you very much for allowing me to be part of the One World Artist Gallery and share a bit of my artistic life through this interview. I’d also like to send a message to people that if they are going through a difficult time in their life or believe that their dreams are unattainable– fight for those dreams and always trust in God. He will always have an answer for you.