Today Creative Commons joins over 50 organizations in releasing the Hague Declaration on Knowledge Discovery in the Digital Age. The declaration is a collaboratively-created set of principles that outlines core legal and technical freedoms that are necessary for researchers to be able to take advantage of new technologies and practices in the pursuit of scholarly research, including activities such as text and data mining. The drafting of the declaration was led by LIBER, the Association of European Research Libraries. It was developed through contributions from dozens of organizations and individuals, including several experts from the CC community. Creative Commons is an original signatory to the declaration.
One of the key principles recognized in the declaration is that intellectual property law does not regulate the flow of facts, data, and ideas–and that licenses and contract terms should not regulate or restrict how an individual may analyze or use data. It supports the notion that “the right to read is the right to mine”, and that facts, data, and ideas should never be considered to be under the protection of copyright. To realize the massive, positive potential for data and content analysis to help solve major scientific, medical, and environmental challenges, it’s important that intellectual property laws and private contracts–do not restrict practices such as text and data mining.
The Hague Declaration also lays out a roadmap for action in support of these principles. The roadmap suggests the development of policies that provide legal clarity that content mining is not an infringement of copyright or related rights. It’s important for advocates to champion this notion, especially as there have been increasing suggestions from rights holders who are attempting to develop new legal arrangements and licenses that require users to ask permission to engage in practices such as text and data mining.
In addition to supporting the notion that the right to read is the right to mine–free from additional copyright-like rights, license, or contractual arrangements–the declaration also suggests that if funding bodies are considering adopting open licensing mandates as a component of receiving grant funds, they should aim to adopt policies that champion a liberal licensing approach. Specifically the declaration states that research articles created with grant funds should be published in the global commons under a liberal license such as CC BY, and that research data should be shared in the worldwide public domain via the CC0 Public Domain Dedication.
The Hague Declaration is an important set of principles and recommended actions that can aid the speed and effectiveness of scholarly research and knowledge discovery today. You can read the LIBER press release here. To show your support, you can sign the declaration.3 Comments »
Congratulations to CC Japan for their tireless work on the official translation of CC0 into Japanese! This marks the first official translation of CC0 for the Asia-Pacific region, and the fourth official translation of CC0 overall.
CC0 is a tool that enables creators to dedicate work to the public domain. Its three-layer design includes a waiver of rights, a fallback license allowing use of the work for any purpose with no conditions, and an agreement not to assert rights in the work. Official language translations of CC0 are created in accordance with the CC Legal Code Translation Policy.
This translation is the result of years of hard work by many in the CC community. Special thanks goes to Maki Higashikubo, Naoki Kanehisa, Kokoro Kobayashi, Yosuke Koike, Tasuku Mizuno, Yuko Noguchi, Masafumi Masuda, Asako Miyoshi, and Tomoaki Watanabe.
We are thrilled for this team and for the global commons!Comments Off on Japanese translation of CC0 published
Less than one month ago, Creative Commons began a project designed to explore and develop business models built on CC licensing. Starting from the methods in the best-selling Business Model Generation handbook, Creative Commons is developing new tools specifically tailored for ventures that utilize CC-licensed or public domain content as a central component of their strategies. We are also working one-on-one with a handful of companies and organizations to brainstorm new business models and paths to sustainability.
In this short span of time, we have seen there is a real desire for this sort of work, and Creative Commons is uniquely-suited to lead it. And in just these first few weeks of this project, we have learned an incredible amount about all of the fascinating ways nonprofits, universities, and businesses are leveraging CC licensing in what they do. One immediate observation about these ventures is how the public interest plays a role in all of them. Whether for-profit or not, the social good furthered by the product or service is an important part of the value proposition.
Meet Openwords: A great example of that phenomenon is a young startup called Openwords, a company CC has been fortunate to work with in our business models initiative. Openwords is a foreign language learning app with a social mission – to provide free and open language learning technology for languages that currently have little or no options for mobile language learning. The small startup is able to do this at low cost thanks to open data. Openwords mines the vast pools of existing open data on sites like Wiktionary and Apertium and transforms the data into language learning tools for a wide range of languages, large and small. Openwords’ open data strategy has already been successful. Openwords has mined content for over 1000 languages.
While Openwords uses existing open data to fuel its product, it is also giving back new open data and content to the public. Everything Openwords creates — the modified data, software code, and educational content – is either dedicated to the public domain using CC0 or offered under an open license. This virtuous circle makes it possible for this for-profit venture to fulfill its social goals.
In 2014, Openwords released a prototype of its mobile app. Now, it has launched a Kickstarter to fund the development of a beta version of the app, and to involve the community in the Openwords app design.
Crowdfunding is just one avenue Openwords is pursuing to raise money, but it can be an effective way to generate funds and buzz simultaneously. In our business models work, we will be researching crowdfunding as a potential revenue model for ventures built on CC licensing. We even plan on trying it out ourselves by running a Kickstarter campaign this summer to write a book about CC business models.
Building sustainable models around open is important work. We encourage you to check out what Openwords is doing. If you are trying to determine how you can operate in a financially-sound manner while generating social good through the use of CC licenses, we encourage you to contact us and participate in our Creative Commons open business models initiative.3 Comments »
Two weeks ago we kicked off a limited edition sale of a special t-shirt designed by our friends at Noun Project, and supported by the great folks at Teespring.com. Yesterday the campaign wrapped up, and we’re pleased to say we blew past our goal and sold 591 t-shirts. With all proceeds going right back to Creative Commons, that means we’ve raised almost $9,000 to help grow and protect the commons.
Most t-shirt purchasers should expect to have their orders completely fulfilled by the end of April. International orders may take another week. When you get your please take a pic and show your Creative Commons pride. Make sure to tag any posts #celebrateCC.
Our huge thanks to Noun Project for creating such an incredible design and to Teespring.com for providing the platform and making this campaign possible. And of course thanks to everyone who donated their hard-earned money and bought a shirt to show their support. I thank you for expressing your appreciation for great design and for such a worthy cause.1 Comment »
Please welcome the latest member of the Creative Commons Team, our new software developer Rob Myers.
Rob will be familiar to many of you as an active member of the CC Community. In 2004, Rob’s art was the first exhibition of CC-licensed art.
Rob has spent the last 8 years working in the free software community. He will be working closely with CC staff, partners, and the community on the myriad of technical solutions that the commons needs, but working especially closely with our education team on supporting the technical needs of the educational output of CC.
You’ll find Rob along with the rest of us in the usual places such as our IRC channel and in GitHub, where he is `robmyers`.
Welcome Rob!1 Comment »
After an exhaustive process, we’re proud to announce that the 2015 CC Global Summit will be in Seoul, South Korea. The CC Korea team put forward an exciting bid, and have proven their experience and skill at planning conferences. I have every confidence that they’ll be a great partner in producing the conference. In addition, this year marks their 10th anniversary, so we will be able to celebrate their accomplishments with our international community.
The conference will run from Thursday Oct. 15 to Saturday Oct. 17, 2015.
We will put out a public call for papers and workshops shortly. There will be more information soon, but for now, anyone interested can sign up for more information at https://summit.creativecommons.org.
This year, we hope to not only build a conference that allows the CC family to come together to work on important issues, but also to expand our invitation list to include organizations and individuals who want to work with us on shared projects that advance the cause of the Commons, free culture and open knowledge. I’m confident that a “bigger tent” strategy will help strengthen CC and grow our community globally.
So if you’re active and engaged in the worlds of open content and knowledge — free software and free culture advocates, Wikipedians, Open Knowledge, galleries, libraries, museums, archives, governments and foundations, lawyers, and activists — we hope you’ll consider joining us this year to build a stronger, more vibrant commons together.
I’m really excited for this year’s event, and hope to see you there.Comments Off on CC Global Summit 2015: Seoul, October 15-17
Today we’re extremely pleased to announce that Flickr now allows its users to share images under CC0, Creative Commons’ international public domain dedication. Flickr also announced they will allow users to share work in the public domain using our Public Domain Mark (PDM). Flickr is the largest repository of CC-licensed photos on the web, and CC0 and the Public Domain Mark will give creators even more ways to share their works and those in the public domain to expand the commons.
Why is this big news for Flickr and Creative Commons? CC0 maximizes the potential creative use of works by dedicating them, without restrictions, to the commons. By doing so, creators enable others to freely and without condition build upon those works in ways that advance science, education, scholarship, and literature, sometimes in surprising and unexpected ways.
Many Creative Commons photographers on Flickr have been asking for CC0. With this announcement Flickr users will be able to choose from among our six standard licenses, our public domain dedication, and they will also be able to mark others’ works that are in the public domain. Adding CC0 and PDM to Flickr is an unprecedented win for the commons and for free creativity and knowledge on the internet.
(CRS-5 Falcon 9 rocket / SpaceX / CC0)
The topic of awesome public domain and CC0 imagery was in the news about a week ago when SpaceX founder and CEO Elon Musk announced that all of SpaceX’s incredible photographs are dedicated to the worldwide public domain. SpaceX will be moving all of their images on Flickr to CC0. Wikimedians have also helped SpaceX to declare a gallery of images as CC0 on Wikimedia Commons.
For years, galleries, museums, and others to whom the the public has entrusted important cultural heritage works have leveraged CC0 as an internationally-recognized way to share digitized copies of works and the metadata that enables search. Europeana now boasts no fewer than 26,000 images under CC0, as well as more than 3.6 million works marked as public domain worldwide using our Public Domain Mark. The availability of CC0 as a means for digitizers of works in the public domain to eliminate any “thin” copyright on public domain works they digitize, or for individuals who wish to eliminate their own copyright, allows the global public to freely create and publish the next great thing. And the availability of the Public Domain Mark to signal a work is globally free of copyright restrictions further empowers creators to stand on the shoulders of those who created before them.
What’s the difference?
Using CC0, a creator enables the public to freely reuse and remix a work without limitation. This is because the author/creator waives all conditions including attribution (although citation is supported) and encourages others to reuse the work in any way, including commercially. We know that Creative Commons supporters, including many photographers in the Flickr community, have been seeking the ability to use CC0 on Flickr since it was was published almost exactly 6 years ago today. This also offers remixers clear and simple terms when seeking out a work to build upon. Many “no known copyright” images are too uncertain to build upon, while CC0 offers a clear dedication to free use and re-use. Once fully implemented, users will be able to move some or all of their works on Flickr to CC0.
The Public Domain Mark is used to denote works out of copyright or in the worldwide public domain. Developed with reference to “no known copyright” statements adopted by many leading cultural heritage institutions, including contributors to Flickr Commons, the PDM is the only mark of its kind, and the only widely-adopted and globally accepted mark that communicates a work’s public domain status worldwide.
We are very happy to recognize Flickr’s longstanding commitment to the Creative Commons licenses, their community of CC photographers/videographers, and to the public good that is our shared commons and heritage.
Incorporating CC0 and PDM into Flickr has been a long term wish of ours, and we’re happy to see it happen today. There were many who helped along the way, but special thanks to CC General Counsel Diane Peters and also to Jane Park, who now leads CC’s platform engagement team.
We anticipate that Flickr’s stewardship of CC-licensed content and public domain materials will continue to grow now that users can take advantage of the full breadth of our legal tools.1 Comment »
This story was researched and written in collaboration with Creative Commons staff. You can also read the story on Medium.
On February 14, 2015 New York’s Museum of Modern Art welcomed the public to a new exhibit, “This is For Everyone: Design Experiments for the Common Good.” Inspired by a short tweet made by Tim Berners-Lee, the inventor of the World Wide Web, “This is For Everyone” includes an array of fascinating objects, concepts, designs, and artworks that were conceived to serve the global public in sometimes unexpected or serendipitous ways. Winding through the exhibit, viewers will find curious and ubiquitous objects and technology that speak to the empowerment of individual creativity. Displayed on the white walls next to the internationally embraced symbols for the on/off button, recycling, and the @ symbol, one will find a mark of equally great significance: the “double-C in a circle,” or simply, the “CC,” Creative Commons mark.
Creative Commons logo and installation view of “This Is for Everyone: Design Experiments for the Common Good” by Jim.Henderson
Copyright and related rights waived via CC0
This most visible icon of the free culture movement is on view in the exhibit, but the MoMA took even further steps to recognize the impact and importance of the “CC” logo and its accompanying ShareAlike, NonCommercial, Attribution, and NoDerivatives icons. On March 4, 2015 MoMA Senior Curator Paolo Antonelli announced that the Creative Commons logo had been formally acquired as part of the museum’s permanent collection. It is both a symbolic and very practical kind of acquisition. As part of the collection, the icons and their history will enjoy perpetual protection and recognition by MoMA. But their work is far from complete: like so many of the other instantly-recognizable icons in the MoMA collection, the “CC” logo will continue to be used and appreciated by millions of people in millions of situations, and for many years to come.
The logos have had an incredible influence on the Internet and global society, and far-reaching, future impacts are coalescing every day. The world knows a lot more about Creative Commons in 2015 than it did almost 14 years ago when the organization was founded, but few know how the logos came to be, who created them, and what informed their creation.
The Creative Commons logos are special and powerful symbols that speak to the origin and roots of the organization that created them. Creative Commons was founded in 2001 by law professor Lawrence Lessig, Hal Abelson, and Eric Eldred to address a problem created by antiquated copyright laws in the U.S. and around the world. In an era where it was becoming easier to share works via the Internet, copyright law seemed to be moving in the other direction by increasing term limits and restrictions on reuse. Amidst this tension, how could artists, researchers, and other creators share their works widely and freely online without infringing on each other’s copyright? At the time, there was no way for a creator to grant blanket permissions for reuse, other than to hire their own lawyer to write custom copyright terms. Creative Commons rose to tackle this challenge with its revolutionary, human- and machine-readable copyright licenses, which anyone could freely use. But with these powerful new licenses in hand, how would people be able to visibly indicate their preferences for reuse?
A designer and a roomful of lawyers get to work
Glenn Otis Brown joined as the second Executive Director of Creative Commons in 2002, taking over for Molly Shaffer Van Houweling to oversee the launch of the CC license suite. Along with Van Houweling, the organization’s founders, early staff and Board collaborators Neeru Paharia and Ben Adida, Brown played a key role in developing the first versions of the human- and machine-readable licenses, and would ultimately be presented with the challenge of building the visual identity system for Creative Commons.
It was a random encounter on a plane leaving SXSW in 2002 when Glenn bumped into designer/animator (and former classmate) Ryan Junell, that led to a graphic design and branding project which would ultimately bring about the Creative Commons logos. Ryan and Glenn were originally classmates at the University of Texas at Austin in the mid-90’s, sitting in on lectures that covered the early and optimistic days of the Internet, and gaining an advanced understanding of how the web would shift perspectives on sharing and copyright.
When Glenn and Ryan reconnected in 2001 Glenn had a big vision for Creative Commons and an amazing design problem to solve. Progress on the CC licenses was well underway. A legal team and the early staff, including Molly and Glenn, were working hard at Stanford’s Center for Internet and Society (founded by Lawrence Lessig in 2001) to craft these new, freely reusable licenses that were intended to be understood by both legal professionals in the world of IP law, and everyday creators and users with minimal legal experience or knowledge.
That early team already understood the importance of visual systems that could be used to convey simple but important information to the user, particularly to enhance the planned roll-out of a simple, web-based license chooser system. Color coding of yellow and green was used to express the level of openness for each specific license, with a strong urging for creators to go green and make their work as open as possible to maximize their contribution to the commons. But the question kept coming up — how do we visualize these powerful, new licenses? How could the license deeds be complemented with some kind of visualization or mark? What could be conveyed through those symbols? In the words of Larry Lessig, the Creative Commons identity “needed to be distinctive, yet teach through its design.”
Molly, Glenn and the team knew they needed a strong mark to further convey what each unique license meant, as well as a grander identity to tie them altogether. An identity not unlike the prevailing symbol of copyright in the world, the unmistakable and seemingly indomitable ©. Ryan Junell, who had been working at a series of design leadership roles with startups and design firms in the San Francisco Bay Area, accepted the unusual and exciting offer to create the public face of Creative Commons.
Two very busy weeks
The original project didn’t come with a traditional and detailed design brief. Ryan was plunged into the process, working directly with legal staff to gain an understanding of the licenses and what they meant. The licenses were a quick study for Ryan, having been exposed to the transformative ideas of a young Internet in the late 90’s, in addition to previous gigs with branding and identity projects in silicon valley. He was already well-versed in the complex issues of sharing and copyright in the early days of the web, and understood the importance of a clear and simple way of conveying the spirit and detail of the licenses. He was also thrilled with the idea of working once again in a challenging, high-tempo academic setting.
Ryan and the CC team committed two weeks to the research and study of the new visual system, an ambitious schedule for any design project, much less one that would grow to have such a powerful and broad influence. Inherently, they knew the visuals needed to be simple and effective. They knew they needed a system of icons, and that this system would have to work as efficiently on the printed page as on a web page, video credit crawl, or signage. It should be possible to evoke the symbol with a keyboard [e.g. (CC)] or be easy to draw and recreate free-hand. Creative Commons was focused on global impact, so the system would also have to work across borders and cultures. It would also need to be bold and direct,not overly intricate or sophisticated.
Creative Commons logo development, 2002. courtesy Ryan Junell
“If you create a question, you create
a reason for people to try to listen.”
Ryan worked through dozens of prototypes, studying the prevalent icons and systems at work at the time, and experimenting with riffs on typography, geometry, and unique letterforms. He shared iterations of early concepts, but the team was immediately drawn to the simple and clear form of the double-c letterforms in a circle. That concept came to Ryan early in the process, and it was idea that felt natural appropriate. He knew it echoed the classic copyright symbol, but it also felt simple, direct, and because of its deviation from the copyright symbol, more welcoming. As Larry later stated, “the multiple meanings of (c) doubled was important. If you create a question, you create a reason for people to try to listen.”
The early concept went through two brisk rounds of improvements but there were minimal changes or diversions from that simple original idea.
With the final “CC” concept clear, it was only a few more steps to build out the rest of the system. Other relevant symbols – the stroked dollar sign, circle-arrow, and originally the letterforms “BY” were suspended in the same bold circle and used to indicate the variants of the licenses: NonCommercial, ShareAlike, and Attribution. As a layered system, these icons were meant to reflect a spectrum of permissions, and would grow to present themselves in their most recognizable, rectangular button forms, set against grey, white, and black.
Akzidenz-Grotesk, a modern marvel
It was a masterstroke of design simplicity, and a brilliant way to portray the sharing intent of the licenses. A playful but confident relationship with the traditional copyright logo gave the “CC” logo an instant recognizability, but also a truly unique identity.
Junell set the original “CC” and the subsequent, lowercase Creative Commons wordmark in Akzidenz-Grotesk, an elegant and bold typeface created in the 19th century by Günter Gerhard Lange. It is considered the first true sans-serif typeface, and became a precursor to hundreds, possibly thousands, of subsequent sans-serif typeface through the 20th century. Popular amongst design-thinking tech companies of the time, it also evokes a spirit of simple, clear, public-minded and modern typography. The typeface is instantly recognizable as a mainstay of environmental and way-finding graphics. It is the progenitor of its more recognizable sibling, Helvetica (created in the late 1950’s), and to this day it is still the official typeface of the International Red Cross and its global chapters.
Animating the logo
The Creative Commons team had the identity in place, but they also knew they wanted a more animated, multi-media approach to make a bigger splash. It was early days of internet video (and low bandwidths for average users) but Junell had experience as an animator and was able to develop an idea for a Flash-based video, the first of several videos Creative Commons would release to tell the story of Creative Commons, and to convince new users to take advantage of the new licenses and icons.
“Get Creative” was the first video in this effort, and featured a case study inspired by a real-world creative reuse situation about the White Stripes. Written by Glenn Otis Brown and directed and animated by Junell, the video set the stage for a new and vibrant outreach effort with artists, writers, academics and researchers that continues today. Junell and others often credit this video with being as critical a part of defining the visual story as the logos themselves. In the spirit of the video, digital comic stories also appeared, illustrated by Junell, and written and designed by Neeru Paharia.
The initial reception to the release of the licenses and the new logos was incredibly positive. The story brought a breath of fresh air to the technology media, much of which was still reeling from the gloomy, post-bubble narrative. Early adopters of the CC licenses, including MIT, the Internet Archive, and the Electronic Frontier Foundation, sung the project’s praises and embraced the logos for their own CC licensed content. On t-shirts, stickers, pins and signs the logo grew and spread, quickly becoming one (if not ‘the’) prominent brand of the free culture movement. Evangelists, artists, coders and writers in the know proudly showed their support for CC by stickering their laptops, notebooks, and mobile phones. More zealous fans chiseled or dyed the logo into their hair during tech conferences, and more than a few CC tattoos found their way onto the most diehard supporters. The logo was well on its way to becoming the internationally recognizable symbol it is today.
The back of this man’s head has a Creative Commons license by George Kelly / CC BY-NC-ND
The logos grow and adapt
The Creative Commons logos found themselves in an increasingly vast and complex Internet by 2005. The system was still simple enough to work in a wide variety of settings, and new platforms like Flickr and eventually Wikipedia and others would be able to incorporate the licenses and the logos in effective and visible ways. But as the logos became more popular and more global, it was evident that the original concepts would need to be updated. The use of the dollar symbol and the reliance on the ‘BY’ text were the two most prominent challenges. Both were conventional for western, English-speaking audiences but were impractical for use internationally.
Alex Roberts, who began working with Creative Commons in 2005 as its Senior Designer, was tasked with the sensitive job of updating and expanding the logos and looking at a variety of new use cases and scenarios. He introduced the simple stick figure as a replacement for ‘BY’ in the Attribution icon, created the new CC Zero icon, and created two new currency icons with the euro and yen symbols to show variation and internationalization of the NonCommercial logos.
Additions to the logo family, by Alex Roberts
Roberts also produced the now-standard slim, rectangular license buttons that are in use on millions of websites today, and worked to improve the readability, layout, and clarity of individual license deeds. Roberts is recognized by the MoMA alongside Ryan Junell as a collaborator in the creation and enhancement of the overall design system.
The new logos appeared in an updated Creative Commons explainer video in 2006. “Wanna Work Together?” was again animated by Ryan Junell, and by then Creative Director Eric Steuer.
Today, Ryan Junell is a creative producer working in the greater NYC area. CC’s first Executive Director, Molly Shaffer Van Houweling, is a current CC Board member and Professor of Law at the University of California, Berkeley. Glenn Otis Brown was Executive Director of Creative Commons from 2002 to 2005 and is now an executive with Twitter based in New York City. Alex Roberts was Senior Designer at Creative Commons from 2005 to 2011 and is now a Software Engineer at Eventbrite.
The CC logos today and beyond
Since 2006 the Creative Commons logos have gone through no significant changes, and the CC 4.0 licenses and their representative logos are poised to continue their march towards ever greater visibility and prominence on the web. Their state as acquired by MoMA earlier this month is likely how they will remain for decades or centuries to come, an indicator of the simple elegance and effectiveness of the visuals and the lasting importance of the power of sharing.
In 2014 Creative Commons’ State of the Commons report counted the number of CC works at well over 882 million (with some estimates suggesting that number is well over 1 billion), coming from more than 10 million sites on the web. The majority of those works are available under one of the three most free licenses, ensuring their maximum benefit to the commons. Wikipedia and its sister projects provide virtually all of their media and knowledge under one form or another of the CC licenses, in addition to public domain. Flickr hosts hundreds of millions of CC images and videos alone, and Creative Commons videos and media thrive on Vimeo, YouTube, the Internet Archive and other major media platforms. Millions of students around the world are learning through freely reusable, Creative Commons licensed textbooks, curricula, and other teaching tools.
Creative Commons looks forward to shepherding the logos through the coming decades and centuries as they continue to grow in impact and use. The Internet and the world around it changes more every single day, and we look forward to envisioning how these symbols and the knowledge and media they accompany will continue to flourish and impact the world in yet unknown ways.
Celebrating the CC logo with a specially designed t-shirt
Today we are also excited to announce the availability of an awesome new Creative Commons t-shirt. Thanks to our talented friends at the Noun Project and Teespring, we are inviting fans and supporters to purchase this limited edition t-shirt that proudly celebrates the CC logo. You can read more about the campaign at this blog post, or head over to Teespring to claim your shirt right now – this one-time campaign runs from March 24 to April 7, 2015.
2 Comments »
Partners with Noun Project and Teespring to design and sell exclusive t-shirt celebrating “CC” logo acquisition by MoMA; Proceeds to support Creative Commons
SAN FRANCISCO – MARCH 25, 2015 – Creative Commons has partnered with crowdsourced visual dictionary Noun Project and commerce platform Teespring to release a custom t-shirt celebrating the “CC” logo’s acquisition into the Museum of Modern Art’s permanent collection. The special edition t-shirt will be available for a limited time only. Proceeds will benefit Creative Commons to further their work in growing and protecting the commons.
Designed by the Noun Project, the commemorative t-shirt celebrates the lasting impact and international recognition of the Creative Commons “double-c in a circle” or “CC” logo. The logo, originally designed for Creative Commons in 2002 by designer Ryan Junell, is recognized as the global standard for creative sharing, remixing, and reuse. Creators, educators, and remixers use the logo to indicate their adoption of one or more variants of the Creative Commons license.
In March 2015 MoMA recognized the ubiquity and significance of the Creative Commons logo by including it in their permanent design collection. The logo can be viewed alongside other imminently recognizably marks such as the @ and recycling symbols as part of the MoMA exhibit “This Is for Everyone: Design Experiments for the Common Good,” organized by senior curator, Paola Antonelli.
“On behalf of the global Creative Commons community I want to thank Teespring and Noun Project for launching this collaboration to celebrate our beloved CC logo,” said Creative Commons CEO Ryan Merkley. “This commemorative design is a beautiful remix that represents what Creative Commons is all about: Noun Project’s freely reusable iconography depicting a range of sharing and remixing activities within the Commons. We know fans of Creative Commons will wear it with pride.”
Noun Project, a long-time supporter and proponent of Creative Commons, designed the limited edition t-shirt to celebrate this milestone using pictograms uploaded by their community. Each pictogram in the design represents an industry or type of media influenced by Creative Commons, which encompasses fields as broad as the arts, science, medicine, and law.
“When opening our platform to submissions from creatives around the world, we knew we wanted to offer a clear and easy license that would enable anyone to share their work. Creative Commons was the perfect solution for helping us build and share the world’s visual language,” said Sofya Polyakov, CEO and Co-Founder of the Noun Project.
To bring this special edition t-shirt to life, Creative Commons and Noun Project have partnered with Teespring, the leading commerce platform for custom apparel. Launched in 2012, Teespring empowers entrepreneurs, creatives, influencers, and nonprofits to create and sell high-quality products people love, with no cost or risk.
“At Teespring we strive to remove the barriers to bringing great ideas to market, which is why we have a unique respect and admiration for Creative Commons and the impact they’ve made for creators all over the world,” said Teespring Co-Founder and CEO, Walker Williams. “It’s an honor for us to partner with Creative Commons and Noun Project and help the community show their support for this meaningful cause and movement.”
This special edition Creative Commons tee will be available until April 8, 2015 at www.teespring.com/creativecommons.
You can read more about the history and origin of the Creative Commons logo at http://creativecommons.org/weblog/entry/45228.
Image assets can also be downloaded via zip file.
About Creative Commons
Creative Commons is a globally-focused nonprofit organization dedicated to making it easier for people to share their creative works, and build upon the work of others, consistent with the rules of copyright. Creative Commons provides free licenses and other legal tools to give individuals and organizations a simple, standardized way to grant copyright permissions for creative work, ensure proper attribution, and allow others to copy, distribute, and make use of those works. There are nearly 1 billion licensed works, hosted on some of the most popular content platforms in the world, and over 9 million individual websites.
About Noun Project
Noun Project is a crowdsourced visual dictionary of over 100,000 pictograms anyone can download and use. Their goal is to help people communicate ideas visually by building the world’s best resource for visual language.
Teespring is a commerce platform that enables anyone to create and sell products that people love, with no cost or risk. Teespring powers all aspects of bringing merchandise to life from production and manufacturing to supply chain, logistics, and customer service. By unlocking commerce for everyone, Teespring is creating new opportunities for entrepreneurs, influencers, community organizers, and anyone who rallies communities around specific causes or passions.
The shirt is available at Teespring.com/CreativeCommons, with all 100% of the proceeds going to support Creative Commons. It will be available until April 8, 2015 and sales start right now. Help us spread the word in all of your channels #celebrateCC
The shirt is comprised of dozens of unique, freely reusable and Creative Commons (or PD) licensed icons from the Noun Project (see a list of designers/artists below) as well as each of our primary sharing logos. Noun Project staff designers created this special edition of the logo, which was originally conceived by designer/animator Ryan Junell or Creative Commons in 2002.
You can read more about the history of the Creative Commons logos, and their recent acquisition by the Museum of Modern Art in New York, over here.
Our huge thanks to Noun Project and Teespring for helping us with this great initiative. We know Creative Commons supporters love apparel, and we think this is one of the best we’ve ever seen.
We also want to proudly recognize the work of the following Noun Project artists, illustrators, and designers whose icons and symbols make up the special edition, commemorative CC logo:
- Edward Boatman
- Stanislav Levin
- Scott Lewis
- Ryan Oksenhorn
- Ethan Clark
- Nathan Driskell
- John Caserta
- Thibault Geffroy
- Jakub Ukrop
- Travis Yunis
- P.J. Onori
- Alex Koplin
- OCHA Visual Information Unit
- Dmitry Baranovskiy
- Mateo Zlatar
- Larissa Mancia
- Megan Mitchell
- Jardson Almeida
- Lemon Liu
- José Manuel de Laá
- Rémy Médard
- Ricardo Moreira
- Jeremy J Bristol
- Sebastian Langer
- Cole Townsend
- Ken Messenger
- Diego Naive
- Clayton Meador
- Weston Terrill
- Martha Ormiston
- Elves Sousa
- Molly Bramlet
- Joe Mortell
- Stefan Parnarov
- Brennan Novak
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