Artists and writers and musicians and all creative people have long had a love / hate / I-kill-you-filthy! relationship to homages.
“Homage” as you know is the French word for
plagiarism blatant rip off swipe.
It’s all fun and games until somebody swipes your stuff, then it’s “Drag hang ‘em over a mile of broken coke bottles!”
It you want to waddle through an area full of moral / ethical complexity, this is the category to do it in.
(We’re gonna stick to art because it’s easier to show examples of what I’m talking about, but what I’m posting about applies to all creative forms.)
Some people & cultures take swiping very, very, VERY seriously.
The Japanese have been know to cancel best selling titles simply because the manga-ka relied a little too heavily on stock sports photos for reference.
On the other hand, the late great Wally Wood told more than one aspiring artist, “Why are you drawing everything originally? Get a reference file so you don’t have to!”
Wally Wood also put together the famous graphic 22 Panels That Always Work for hard working cartoonists who needed to meet a deadline and, stumped for inspiration, could use one of his examples to get them through a tough point in the story.
But the thing about Wally Wood’s swipe files was that he used them for feel or reference, he didn’t copy them line or line, detail for detail. Take a look below, comparing a panel from his famous sci-fi story “My World” and the original news photo from the 1930s.
The same idea,
But at the other end of the extreme, one of Wood’s acolytes was an artist of extremely modest talent who could at least draw a straight line and ink it to satisfaction; while he often worked batting clean-up on other people’s work, this person also sold his “own” illustrations to sci-fi digests of the era: Typically panels from comic books copied pretty much directly with no effort to add any science fictional elements.
But then, that’s what “fine” artist Roy Lichtenstein did, swiping panels from comic book cartoonists whom he bore grudges against, copying them as extra large canvases, and selling them for mucho dinero.
One of the guys he
ripped off was inspired by took him to court, but the judge ruled what Lichtenstein had done was to take an idea — in this case an artistic expression — and by copying it large enough to see the printing dots, turned it into a brand new work of art that wasn’t a direct swipe after all.
Then Lichtenstein tried the same stunt with a Disney character and Disney threatened to drag him through every court on the east coast regardless of what the first judge ruled, and Lichtenstein painted Disney no more.
Money, as the eminent philosopher
C. Lauper once observed, changes everything…
This orbits back to a recent series of complaints about convention artists selling work that is not wholly their own.
For decades the major comics and media companies have been looking the other way as artists sell prints and commissioned drawings of characters they do not own. The unspoken agreement is that what is being sold is not a picture of Daffy Duck or Batman or Harry Potter but rather a representation of that particular artist’s skill.
As these convention artists make no representation they own any rights to the characters, this legal fiction has been allowed to stand. It could be a big X, it could be super-detailed drawing of every blessed Avenger ever, but the thing actually being sold is not the art in and of itself but the art as a representation of the artist’s skill level.
Not all the major media companies are happy with this but as they say in The Sopranos, “’Ey, whaddya gonna do?” or (more to the point) as they say in the Army: “Never give an order you can’t enforce.”
The major media companies can not enforce every single solitary copyright violation so they let the little fish swim free, going after the big pirates of posters and T-shirts and media.
But recently an interesting new charge has been floating around.
Warner Brothers / DC Comics own Batman.
Artist Pat draws a picture of Batman based on a pose from a recent comic book or movie; the point being that it’s not Pat’s character nor is the pose original even though that particular execution is done by them.
Artist Pat then sees Artist Leslie selling prints that exactly copies Artist Pat’s work.
Artist Pat takes umbrage at Artist Leslie, yet Artist Leslie has done nothing that Artist Pat hasn’t already done!
It’s one thing when Artist Pat sees a T-shirt retailer selling dozens of shirts based on Artist Pat’s art without paying Artist Pat, yet if Artist Pat is using someone else’s character, Artist Pat is doing just as much “stealing”.
Every creative person starts out with some sort of imitation. Maybe not wholly conscious, maybe without intent to profit directly from it, but every creative person learns their craft by studying what those who came before them did and then learns to add their own stylistic interpretation.
And somewhere on a gamut from “not nice” to “outright criminal” there falls the issue of copying somebody else’s art and making a buck off it for yourself.
Is it always wrong? Is it never right?
Re-create another artist’s work but acknowledge the source ala “reproduction of Fantastic Four #1 cover by Jack Kirby” and it’s hard to point fingers.
Take another artist’s idea but add your own twist to it — “See, it’s the dogs-playing-poker picture only this time they’re human!” — and it seems to fall into the category of “fair usage”.
But it’s pretty unkosher to swipe another struggling artist’s idea even if that artist swiped it from somebody else.
Basically, don’t be a yutz about it. If you like what somebody else did, figure out what you liked about it then do that in your own way.
Théodore Géricault – The Raft Of The Medusa
Earl Norem – Not The Raft Of The Medusa
 As opposed to a “howard” artist?
 Because nobody fncks with The Mouse!
 And if it doesn’t, MAD magazine and about sixty million pornographers are in a world of hurt because of their parodies of famous movies and TV shows.