1. MARKETING CRAFT & VISUAL ARTS THE ROLE OF THE IP SYSTEM WIPO-ARIPO National Seminar - Feb. 7-9, 07 Caroline Schwab - WIPO SMEs Division

2. The original painting is by Moenaa Nendoro, Zimbabwe, Africa. This batik ( and this basket are Zimbabwe Art This batik (batik, Zimbabwe artist: Abigail) and this basket are Zimbabwe Art

4. This practical and user- friendly guide brings out the relationship between successful marketing of crafts and visual arts, and the use of intellectual property (IP) tools. About this Guide - This practical and user- friendly guide brings out the relationship between successful marketing of crafts and visual arts, and the use of intellectual property (IP) tools. It presents numerous case studies and examples about managing IP assets in the craft and visual arts sectors from a number of countries worldwide. Marketing Craft & Visual Art - A WIPO-ITC joint guide

6. The purpose of this Guide is to provide a basic knowledge and understanding of marketing techniques and of IP to artisans and visual artists, to enhance the chances of their business success. It seeks to indicate why, which, what, where, when, whether and how consideration ought to be given to the effective management of IP assets by using IP tools for successful marketing of craft and visual art products. In particular, it seeks to help artisans and visual artists to establish

7.  Which IP issues are relevant to them;  Why they should consider protecting their creative output with IP rights (IPRs);  How to identify the creative output that may be protected with IPRs;  What type of IPRs and protective measures are best suited to their particular needs and business;  What the costs and practical business benefits are of such protection;

9.  How to access relevant information on IP and locate relevant intellectual property offices;  Whether to join copyright collective management institutions or associations;  Where to go for assistance on IP matters, and in particular whether to use the services of IP agents, IP attorneys and/or IP consultants; and  Whether all necessary basic measures and procedures have been put in place to start implementing an IP policy and strategy as an integral part of their business and marketing strategy.

11. The following individuals, groups, enterprises or institutions may find it useful:  Individual or employed artisans and their associations;  Self-employed craft entrepreneurs, producers and exporters;  Associations of craft industries and trade;  Visual artists (individually or collectively);  Trade and other support institutions for the craft and visual arts sectors;  Teachers, trainers and teaching and training institutions involved with business development and management, marketing, trade and export promotion for the craft and visual arts sectors;  Governmental and non-governmental organizations (NGOs) working for development of the craft and visual arts sectors; and  Professionals or business consultants in the craft and visual arts sectors.

13. The intended audience The intended audience - This Guide assumes the reader has limited knowledge or expertise, if any, about principles of marketing or IP. An effort has been made to write in clear, and, to the extent possible, jargon-free language, and from a practical and common sense perspective. It is hoped that the Guide will be as relevant for a person belonging to an indigenous group or tribe as for a traditional artist or craftsperson, or for a modern, city-based enterprise in a fast- paced business environment. "Marketing Crafts and Visual Arts: The Role of Intellectual Property: A practical guide" is available from the electronic- Bookshop of WIPO’s, with a discount.

15. FOR MORE INFORMATION, CONTACT: sme@wipo.int or publications.mail@wipo.int THANK YOU FOR YOUR ATTENTION