Copying - My Thoughts on the Dreaded "C" Word

"Copying" is often a hotly debated topic in the lampworking community. Forget the adage: "Copying is the sincerest form of flattery." These discussions can get downright ugly.

I've steered clear of sharing my philosophy on copying in the open forums, but since this blog is my personal forum, I will attempt to explain my feelings on the subject.

Types of Copying

Usually, you can find three types of copying being addressed:

1. Copying an image of a bead that has been posted to the web.

2. Infiltration of sub-standard imitations from overseas environments, especially
where the working conditions are hazardous.

3. Copying a bead itself.

The third issue is what I will attempt to address in this post.

History of Copying Art

I never formally studied Art History, but I know that as far back as the Renaissance, the artistic masters took on apprentices not only as workshop employees, but as students, exchanging their services for training. Consider the following excerpt from Master and Mentor; an Introduction to the Artist-Pupil Relationship in Art History by Sarah Jarvis, 2007:

"The popularity of large fresco commissions by all manner of patrons led Renaissance artists to be in high demand. The commissioned artist would therefore attain the help of assistants and apprentices to help in the process, in exchange for an introduction to the exhaustive methods and tools of the trade. Here, the principal artist would act as workshop master directing a team of workers, who, through continued effort in their employer's projects, would gradually progress in their own artistic training."

Copying Instructors and Tutorial Techniques

In today's lampworking community, expensive workshops with widely admired artists have been extremely popular. Recently, other lampworkers have sold their techniques via downloadable .pdf tutorials. In most cases, permission is explicitly granted for the student to copy what is covered in class or in the tutorial (although the documents themselves are usually copyrighted). However, there are some artists who request that students NOT reproduce (copy) what they have learned. I suspect this breaks down into copying a techique vs. copying the class bead. Regardless, if an instructor does not want his or her demonstration techniques or beads copied, he or she should simply not demostrate them.

I have taken classes with some of today's best known and popular artists and from my experience the best classes are the ones that may teach you how to make several specific types of beads that incorporate techniques that are adaptable to my own beads and spark experimentation and new ideas - techniques that enable me to progress in my own artistic development, just like an apprentice from the Renaissance.

Copying "Bead Porn"

"Bead porn" is the affectionate term some of us use for bead photos in books or images posted in the forum show-and-tells (the "tell" part is almost always missing). In spirit, these pictures are shown for enjoyment, inspiration, edification, and the sharing of knowledge among lampworkers. In actuality, their purpose is frequently less obvious.

I keep statistics on the blog you are reading. I can tell how many "hits" I receive each day and what site each visitor has come from. Since I have a link to my blog in the signature line of my forum posts, I can tell that most of my hits come from visitors who have seen one of my beads in a show-and-tell thread then clicked to see my blog. To the right of this post I have links to my listings on Ebay, Etsy, and Artfire. Hence, if I post good beads in a show-and-tell thread, theoretically that will drive more traffic to my markets and create more sales.

When I look at bead porn, I am primarily checking out the competition, and I usually have one of the following reactions:

1. No desire to try.

2. I tried that and failed - no desire to try again.

3. I tried that and failed - inspired to try again!

4. I never tried that - let's see if I can do it!

5. I never tried that - WOW! I wouldn't even know where to
begin!

Why I Think Copying is Okay... for Me

Ultimately, I use copying as a way to become a better artist and beadmaker. I use it as a springboard to new ideas and challenges. Any aspect of a bead may inspire me to "copy" it. It could be the colors, the shape, the size, a particular technique, or everything about it.

If I print a picture of a bead and try to recreate it at my torch, 99% of the time I never even finish. But, on rare occasions I end up with a great bead that I like and all is right with the world... EXCEPT it so closely resembles the original that anybody who travels in my circles would instantly recognize it was not "mine."

If I like the bead enough and I enjoyed making it I usually work with the design, keeping the things I really like about it and changing the things I like less, until:

1. I'm equally, if not more satisfied. Pushing beyond the original to a better bead can be very gratifying.

2. I'm convinced that very few, if any, beadmakers will recognize my inspiration, particularly the original artist.

Now, there is one looming question: What am I going to do with that lovely copy I made? In my opinion, selling it publicly on the international market is out of the question. My reasons are as follows:

1. My copied beads never really measure up to the artist's original. To me, this would be like selling somebody’s "seconds."

2. I feel it would be insulting to the original artist. It’s a tough market and my copy may be seen as an effort to steal sales.

3. Part of the joy of art is taking an idea and interpreting it in your own way. I would be "selling out" by denying myself that challenge and pleasure.

4. I don't want to get stuck with orders making somebody else's bead. How deflating?

Occasionally, my copied beads end up at a local show, but I usually give them to friends or family who will enjoy the bead just because it was made by me.

An Example of What I Mean

Here is an image of a primitive-style heart by Teresa Laliberte’ of Lavender Creek Glass (used by permission).





















When I saw Teresa's heart bead I was passively looking for a different take on heart beads for a challenge sponsored by ISLAGA. I went to the torch and made this:





















I was very pleased with the bead and enjoyed making it. It was not tedious or frustrating or too simple to be interesting. So, I worked on another bead the next day and came up with this:




















This is the bead I entered in the challenge. (It didn't win, but I voted for my own bead for the first time ever!) Now, I've got all kinds of color schemes and shapes and jewelry designs flashing through my brain. I've started writing them down to make sure I remember them. Oh, and I still have my original copy. I like it too much to give it away!

I honestly don't know how most lampworkers really feel about the whole copy issue, but I know that I am always honored if someone copies my work (which is rare). They become "kindrid spirits."

Conclusion

Granted, there will be those who maintain that copying is wrong under any circumstances, but that position is unrealistic based on history, common sense, and my personal experience. It perpetuates the craft, and who can stand against that?