Intellectual Property Lawyers for Chicago, Illinois

Running a trademark search before registering your business name isn’t legally required, but it’s one of the most important steps you can take to avoid future problems. Registering your name with the state forms your business entity, but it doesn’t give you trademark rights. Trademark rights come from use in commerce and, if you file with the USPTO, registration at the federal level. Why a Trademark Search Matters The central legal test in trademark law is whether a name is likely to cause consumer confusion. That means you don’t need to copy someone else’s name exactly to get into trouble. Even something that looks or sounds similar in the same or related industry could be enough. If you skip the search and move forward, you risk: • Infringement claims: Another company could demand you stop using the name and, if necessary, sue for damages. • Forced rebranding: If you’ve already invested in your logo, website, signage, or marketing materials, being forced to change your name can be expensive and disruptive. • USPTO rejection: If you apply for a federal trademark, the USPTO will run its own search. If they find a confusingly similar mark, your application will be denied and you’ll lose the filing fees. A well-documented example is when small businesses open under a catchy name, only to receive a cease-and-desist letter from a national chain using a similar name in the same space. Even if you’re in a different state, a federal registration gives that company priority rights nationwide. A proper trademark clearance search should cover more than just identical names. You’ll want to check: • Federal database (USPTO TESS): This is the official record of all registered and pending federal trademarks. • State trademark databases: Many businesses register marks only at the state level. • Common law sources: Unregistered marks can still have legal protection. Check Google, industry directories, social media, and domain names. • Similar variations: Look for phonetic equivalents and alternative spellings, such as “Kwik” for “Quick,” or slight wording changes that could still cause confusion. Professional Assistance You can run an initial search yourself at no cost, but these searches have limits. For example, the USPTO database won’t flag marks that are spelled differently but sound alike, or names with similar meanings. Attorneys and specialized search firms use tools that uncover those kinds of risks. While hiring a professional costs more upfront, it’s often far cheaper than litigation or a rebrand. Limitations A search doesn’t guarantee that your name will never be challenged. Trademark law involves judgment calls about how similar marks are and whether they overlap in goods or services. Still, a thorough search puts you in a much stronger position to defend your choice and move toward federal registration if you want nationwide rights.

When you’re preparing work for a client, the key issue isn’t whether you’ve run a formal copyright search, but whether you have the legal right to use the image. Copyright law automatically protects most images, so relying on the absence of a watermark or a registration record isn’t enough to keep you safe. Copyright Protection and Ownership Under U.S. law, copyright attaches the moment an original work is created and fixed in a tangible form (17 U.S.C. § 102). That means virtually every photo, illustration, or graphic you find online is already protected. Registration with the U.S. Copyright Office strengthens enforcement rights, but it isn’t required for protection. Likewise, the lack of a © symbol doesn’t mean an image is free to use. Because there’s no central database covering all copyrighted images, a formal copyright search isn’t practical or reliable in most cases. Even if you searched the Copyright Office’s records, you’d only be looking at registered works, which are a small fraction of what’s actually protected. Risks of Using Unlicensed Images If you incorporate an image without permission into a commercial project, you and your client could face serious consequences. Infringement can lead to cease-and-desist orders, statutory damages of $750 to $30,000 per work (and up to $150,000 for willful infringement) under 17 U.S.C. § 504(c), and potential liability for the copyright holder’s attorney’s fees. Courts generally view commercial use as disfavoring any “fair use” defense. Even if you didn’t intend to infringe, liability can still be imposed. Best Practices for Designers The best practice is to focus on obtaining images from sources where the licensing terms are clear and legally sound. For example: • Use reputable stock photo agencies such as Adobe Stock, Shutterstock, or Getty, where commercial licenses are explicit. • Choose Creative Commons images that allow commercial use (e.g., CC BY or CC0), but review license terms carefully. • Confirm public domain status when applicable, such as U.S. federal government works. • Contact creators directly for written permission if you want to use their work. • Keep copies of receipts, license agreements, or permission letters so you can show proof of rights if challenged. Reverse image search tools like Google Images or TinEye can be useful to trace the origin of an image and identify whether it’s sold or licensed by a third party. However, this is a step in due diligence, not a substitute for obtaining rights. Professional Responsibility As a freelance designer, your contracts may hold you responsible for ensuring that the materials you deliver don’t infringe anyone else’s rights. Delivering work that exposes your client to infringement claims can damage your reputation and your client relationship. The safest practice is to assume that any image you didn’t create yourself is protected until you confirm otherwise and secure the proper license.

Yes, you can and should include clauses in an Intellectual Property License Agreement that protect your rights as the licensor. A license agreement is your main tool for controlling how your software is used, setting boundaries for your clients, and limiting your financial exposure. The key is to draft it in a way that leaves no doubt about what rights are granted, what’s restricted, and what happens if there’s a breach. Grant of License Start with a clear license grant. Spell out that you’re giving the client only limited rights, not ownership. Most licensors define the license as non-exclusive, non-transferable, and revocable if the client doesn’t follow the terms. For example, you might allow a client to use the software only for its internal business operations, and only on a set number of machines. It’s equally important to list what the licensee cannot do, such as reverse engineering, modifying, sublicensing, or providing the software to third parties. Intellectual Property Ownership Reinforce that you retain all ownership rights in the software and any related intellectual property. A simple but strong statement is that you hold all right, title, and interest in the software, and the client only receives a limited right to use it under the agreement. This prevents confusion between a license and a sale. You can also require the licensee to notify you if they discover third-party infringement and confirm that you alone have the right to pursue action against infringers. Confidentiality If you’re providing source code, algorithms, or other sensitive information, a confidentiality clause is essential. Define confidential information broadly to include not just the software itself but also any documentation or business information you share. Require the client to protect that information with at least the same care they use for their own confidential material, and make the obligation survive termination of the agreement. Termination Every strong license has a termination clause. Termination for cause should allow you to end the agreement if the client fails to pay, violates the license scope, or breaches confidentiality. Many agreements include a short cure period, such as thirty days, for the licensee to fix the breach before termination takes effect. Spell out the consequences of termination: the licensee must stop using the software immediately, return or destroy all copies, and certify that they’ve complied. Without this, you risk losing leverage if the relationship breaks down. Payment Terms Protect your revenue by making payment terms clear. Define license fees, support or maintenance fees if applicable, the payment schedule, and penalties for late payment such as interest. Courts generally enforce these provisions as long as they’re reasonable. Disclaimers and Limitation of Liability These clauses protect you from lawsuits if things go wrong. A limited warranty might cover basic performance for a set time, but beyond that you should disclaim all other warranties. Standard language is that the software is provided “as is” and you disclaim implied warranties of merchantability and fitness for a particular purpose. To limit your exposure, cap liability at a defined amount, often the fees paid by the licensee in the previous twelve months, and exclude liability for indirect or consequential damages such as lost profits. Courts usually enforce these limits, except in cases of fraud or intentional misconduct. Audit Rights If your pricing model depends on the number of users or installations, an audit right is valuable. This allows you to check, on reasonable notice, that the licensee isn’t exceeding their rights. For example, you might reserve the right to inspect usage records once a year during normal business hours. Governing Law and Dispute Resolution Designating which state’s law governs and how disputes are resolved reduces uncertainty. Many licensors choose their home state’s law and either local courts or arbitration for disputes. Remedies Make sure your agreement lets you seek injunctive relief if the licensee misuses or discloses your software. Monetary damages often aren’t enough to protect intellectual property, so courts will enforce contract terms that authorize immediate injunctive relief. Protect Your Software with Legal Guidance When you’re licensing valuable software, the details in your agreement can make the difference between real protection and unnecessary risk. The lawyers on Contracts Counsel are available to draft, review, or negotiate a license that secures your rights and keeps your business protected.

Whether you need a Work For Hire Agreement really depends on the project and what both sides are trying to get out of it. You’re not automatically required to sign one, but saying yes or no to that clause can completely change who owns the work and what rights you’ll have moving forward. Just because a client calls something “work for hire” in a contract doesn’t mean it actually qualifies under the law, especially when it comes to freelance design work. Here’s the thing. Under U.S. copyright law, “work made for hire” is a specific exception to the general rule that the creator owns the work. For a freelance project to qualify, two conditions have to be met. First, both parties need to sign a written agreement that says the work is considered “made for hire.” Second, the type of work has to fall into one of nine defined categories under 17 U.S.C. § 101. These include things like contributions to collective works, audiovisual pieces, instructional texts, or compilations. The list is pretty narrow. Standard marketing materials, logos, brochures, or campaign graphics usually don’t make the cut. Courts take a strict approach here, so just checking a box in a contract doesn’t magically make it enforceable. If your project doesn’t meet both requirements, labeling it “work for hire” doesn’t hold legal weight. In that case, the default is that you, the designer, own the copyright unless there’s a separate written agreement transferring it to the client. That leads us to ownership. If there’s no valid Work For Hire clause and no assignment of rights, you retain full copyright. That gives you control over how the work is used beyond whatever license you’ve granted. So if you created a logo and the contract only licenses it for digital use, the client can’t later slap it on T-shirts or license it to a partner without getting your permission first. But if there is a valid Work For Hire clause or an explicit copyright assignment, then the client becomes the legal owner. That means they can use it, change it, resell it, or do whatever they want with it, without needing to pay you again or ask for further approval. You’d have no say over how the work is used, and unless the agreement gives you permission, you wouldn’t even be able to include it in your portfolio. If you want more flexibility, there are alternatives. You can structure the deal with a copyright assignment that still reserves certain rights for you. For example, you could keep the right to show the work in your portfolio or limit resale to direct competitors. Or you could stick with licensing. An exclusive license gives the client broad rights but you still own the work. A non-exclusive license is more limited and usually makes sense for templates or assets used with multiple clients. Portfolio rights, by the way, are often negotiable. Even in exclusive arrangements, you can add a clause that lets you show the work on your website, social profiles, or print materials. Just make sure it’s clearly spelled out. Some corporate clients won’t allow it at all unless it’s written into the agreement. From a practical standpoint, your decision should take into account how much you’re getting paid, how the work will be used, and whether you want to reuse or showcase it later. If you’re giving up all rights, price accordingly. Clients pushing for Work For Hire terms often just want clean, uncomplicated ownership, especially for branding or long-term use. But that doesn’t mean you can’t negotiate. You might agree to transfer ownership only after full payment is received. You might keep the right to use rejected drafts. You might even allow Work For Hire treatment for the final deliverables but retain some creative rights behind the scenes. Also, keep an eye out for boilerplate clauses. Some clients include Work For Hire language by default, not realizing their project doesn’t meet the legal standard. Just because it’s in the contract doesn’t make it enforceable. If the work doesn’t meet the criteria, the clause won’t hold unless there’s a separate valid assignment of rights. When in doubt, it’s smart to run the agreement by an attorney who understands copyright law and freelance creative work. Contracts Counsel connects you with attorneys who handle exactly this kind of issue.

Although not necessarily required, the parties to an asset purchase agreement oftentimes find that it is in their best interests to work with a knowledgeable intellectual property attorney. The attorney can negotiate and draft the parts of the agreement that pertain specifically to intellectual property. The attorney can also assist with the parts of the agreement that do not appear to affect intellectual property but have the potential to. If you are considering an asset purchase agreement that involves intellectual property, you should also consider hiring an intellectual property attorney.