Seth Godin on Subtlety: The Trademark Perspective

Seth Godin's recent post entitled Subtlety, deconstructed, struck a chord with me, and should strike a chord with all trademark types and the brand owners they represent. Here is my favorite excerpt:

Subtle design and messaging challenge the user to make her own connections instead of spelling out every detail. Connections we make are more powerful than connections made for us. If Amazon and Zappos had been called "reallybigbookstore.com" and "tonsofshoes.com" it might have made some early investors happy, but they would have built little of value.

As you may recall, I have been tough on Seth Godin's trademark advice in the past, but I couldn't agree more with his view set forth above on naming and building powerful consumer connections and a resulting asset of significant value, by utilizing subtle design and messaging.

We have spoken and written about not "hitting the consumer over the head" in the context of naming and placement on the Spectrum of Distinctiveness, instead, encouraging the use of suggestive as opposed to descriptive names and marks, but, let us not forget, there is a trademark paradox that does appear to reward use of a blunt instrument, called look-for advertising, at least when it comes to developing trademark rights in certain non-traditional marks.

Department of Redundancy Department

Here's a trademark that has always amused me:

You can find it on a page of FedEx's website, and it is on many FedEx boxes and trucks.  As Steve has pointed out before, and as probably everybody older than the age of reason knows, FedEx is short for Federal Express, so this mark in one sense means "Federal Express Express."  (FEDERAL EXPRESS is still itself a registered trademark, although with EXPRESS disclaimed, and FEDEX is also registered.) 

At the same time, the company does not seem to be embarrassed to use the FEDEX EXPRESS mark, and many of us probably see it regularly and don't notice the apparent redundancy, which is a testament to the fact that the trademark FEDEX is inherently distinctive.  To the strict literalist, FedEx may mean only "Federal Express," but in commerce, FEDEX is a unique identifier distinguishing a unique source of services--and there is the genius in its branding strategy, albeit bolstered by long-standing use.  FEDEX is now a house mark used in a bewildering number of composite trademarks:

I could go on.  FedEx is even on the first person bandwagon with its MY FEDEX page.  I state the obvious:  FedEx is strong, and Federal Express is a branding champion--strong enough to be redundant without consequence. 

P.S.  But even the champions can't always keep up with the domainers--just see where fedexpress.com takes you...

It's Official, Duets Marks Federally Registered

Lest you missed the prior (absence of) fanfare from the United States Patent and Trademark Office (USPTO), we thought you should know (now you have not only constructive notice, but actual notice and knowledge of these valuable and important rights) that we are the proud parents (for those of you who personalize your company's or client's trademarks as offspring) and owners (for those of you who view them more as exclusive property rights capable of being borrowed against, licensed, bought, and sold) of four federally-registered trademarks (actually, service marks):

  1. DUETS
  2. DUETSBLOG
  3. DUET LECTURE SERIES
  4. COLLABORATIONS IN CREATIVITY & THE LAW

One registration issued within seven months of the filing date, the rest, one year from filing. So, admittedly, we probably could have pushed them along a little quicker, but, we were busy with the important work of our clients, and eh, not to mention, blogging too.

As to the genesis of the Duets name, and recalling that "DuetsBlog was born out of the chasm that can divide legal and marketing types," and is uniquely positioned to do battle with Dr. No, we trust you will agree that the Duets name and marks are inherently distinctive with no showing of acquired distinctiveness or second meaning necessary to have protectable rights. Thanks Aaron and the Capsule team on a job well done that we couldn't have done without your skilled naming assistance!

Laura, remind me to insert the appropriate ® registration symbols when we return from Boston.

Pizza Branding Goes Back to the Basics

Guest Blogger Anthony Shore of Operative Words, recently wrote about the naming pendulum swinging away from arbitrary names and back toward brand names having an honest, straightforward, and even humble quality, in Truth is Stronger Than Fiction.

Another way of saying it might be: naming is going back to the basics. I recently came across a good example in Vista, California, a great pizza place called Urbn Pizza, and another in San Diego, called Basic Pizza

OK by me for the naming pendulum to swing back a bit, so long as the names suggest instead of describe. Both of these examples are probably inherently distinctive and suggestive marks, even if barely so, do you agree?

My favorite example of a great local pizza place and name is Black Sheep Coal Fired Pizza, located in the North Loop District of Minneapolis.  Black Sheep takes its pizza back to the basics while resisting the naming pendulum swing observed by Anth, settling with an uncommon and arbitrary name.

Another Marketing Pitfall: How to Crush a Smashing Brand Name & Trademark

Last week we blogged about the dreaded D-Word and how some marketers unwittingly undermine trademark rights in a brand name by explaining that the name "describes" or is "descriptive" of the goods or services sold under the brand.

We also have blogged about the danger of "taking a suggestive name, mark, or tag-line, and using it descriptively in a sentence on labels, packaging, ad copy, or the internet," because doing so "unfortunately can move it to the left (and wrong) side of the line and render it merely descriptive." This particular marketing pitfall was illustrated by probing the Gatorade label last May.

Today, we continue the similar theme of common marketing pitfalls that can render an otherwise strong and suggestive mark merely descriptive, and weak, if protectable at all.

Icon Burger Development Company launched the Smash Burger franchise a couple of years ago, and it recently found its way to the Twin Cities. Great food and concept, by the way. The founders are really on to something here, but the marketing efforts have a few, let's say, trademark issues.

Smash Burger, at the outset, had the potential to be a strong and smashing (i.e., wonderful, impressive) brand with strong and inherently distinctive trademark rights. Indeed, the U.S. Trademark Office registered a number of different SmashBurger variants, each without a showing of acquired distinctiveness or secondary meaning, here, here, here, and here. It has even federally registered the word SMASH standing alone, and the tag-line: SMASH. SIZZLE. SAVOR.

                      

When your unique and valuable brand name is SMASH BURGER, and you want to own and continue to own rights in SMASH, and related SMASH marks, best not to use "smash" and "smashed" as words to describe the type or name the category of burgers you sell. For example, the website explains why people love SmashBurger: "Fresh, never frozen 100% Angus Beef smashed, seared and seasoned on the grill." As part of the SmashBurger story, it is told: "We start with 100% Angus Beef smashed, seared and seasoned on the grill . . . ." The homepage further reads: "Smash Burger is a great new burger place for a better burger made with 100 Angus Beef that is smashed, seared and seasoned on the grill."

Perhaps most devastating from a trademark perspective, the SmashBurger drink cups read: "Where SMASH means we literally smash 100% Angus beef at a high temperature to sear in all the juicy burger goodness":

                                                 

Sounds good, if you're dining, but ouch, if you're the patty, or perhaps a trademark type. It appears the Examining Attorney never combed the SmashBurger website, as many will do, in search of descriptiveness admissions that can and will be used against the brand owner and trademark applicant. It remains to be seen whether these issues are raised at some point in the future.

When marketers are tempted to use their brand name in a descriptive way, my suggestion is to consult a thesaurus in search of alternate terms to use in copy that share the same meaning as the branded and trademarked term. This helps avoid a trademark invalidity challenge by the Trademark Office or competitors. 

Would the effective marketing story be lost if words like "smacked," "pounded," "pressed," "crushed," or "slapped" were substituted for "smashed," and terms like "smack," "pound," "press," "crush," or "slap" were substituted for "smash" in the copy, leaving SMASH for use only as a trademark and brand name? I'm thinking that consumers will exercise a little imagination and still get the marketing point, without doing harm to the trademark.

What do you think?

Sleight of Hand? Kimberly-Clark Amends Sensory Touch Mark to Packaging Design Mark

As you may recall from March of this year, we blogged about Kimberly-Clark's novel intent-to-use trademark application for a "sensory, touch mark" in connection with disposable paper hand-towels. Other discussions of sensory, touch marks may be found here

In any event, the original description of the claimed Kimberly-Clark trademark was as follows: "The mark consists of a distinctive arrangement of textured alternating dot pattern appearing on the surface of the carton of disposable paper hand-towels. The mark is a sensory, touch mark."

Here is the original drawing (on the left):

                  Mark Image

Kimberly-Clark now appears to have shifted its approach by amending both the drawing (the new drawing shown above on the right) and the description of the mark to now read: "The mark consists of a configuration of packaging consisting of a design of a distinctive arrangement of soft textured raised alternating large and small dot pattern appearing on the surface of the carton of disposable paper hand-towels. The matter shown in broken lines is not part of the mark and serves only to show the position or placement of the mark."

So, no more reference to this being a "sensory, touch mark" -- now the focus is on a packaging configuration. This amended mark was approved for publication by the Trademark Office as an inherently distinctive trademark, and it was published for opposition just days ago, on December 8, 2009. 

What do you think, is this amendment a material alteration of the originally filed sensory, touch mark? Are the commercial impressions of the original mark and the amended mark essentially the same? Apparently the Examining Attorney concluded they were. Do you agree?

More On The Fordless Blue Oval

What do you think, is Overstock.com selling bling with the Fordless blue oval logo?

Enamel Turquoise with Blue Ovals Bangle Bracelet

As you may recall from my post back in September, Ford Motor Company is attempting to register the below shown non-verbal logo as a trademark for a variety of goods in Int'l Class 12:

Mark Image

And, as you may recall from Dan's I See Blue Ovals post back in August, there are far more than a handful of blue oval logos out there besides this one:

 

The pending Fordless blue oval intent-to-use trademark application recently was examined by the U.S. Patent and Trademark Office (PTO), and on October 23, 2009, the PTO found no substantive bases for refusal, but instead it issued an initial refusal noting only a couple of purely procedural or technical deficiencies, concerning the wording in the lengthy description of goods and the need for Ford to submit a claim of ownership to some related registrations (here, here, and here).

So, once these minor details are satisfied the above non-verbal Fordless logo will be published for opposition, and assuming no Amendment to Allege Use is filed prior to the approval for publication and assuming no third party files a Notice of Opposition, then a Notice of Allowance will issue, which will start the clock for Ford to put in evidence of use through a Statement of Use.

What remains to be seen (until Ford submits a specimen of use) is whether Ford really will use the above blue oval design without the Ford name brand superimposed, as shown in the drawing submitted to the PTO. If Ford ends up submitting evidence of use with the Ford brand name superimposed on the blue oval logo, then it appears unavoidable that Ford will have additional refusals issued, for the reasons previously articulated.

But, if Ford actually puts in use of the Fordless blue oval logo -- as shown in the drawing without the Ford brand name superimposed -- does the PTO's recent failure to challenge inherent distinctiveness mean that no evidence of acquired distinctiveness or secondary meaning will be required for registration?

If so, given the prevalence and popularity of blue oval logos, how can the Fordless blue oval be considered unique enough to be inherently distinctive?

Stay tuned for more on this as we learn more.

Blue Oval, But Look Mom, No Words!

What does this image signify to you?

Mark Image

For full credit, please answer the question before peeking back at Dan's popular post called "I See Blue Ovals."

I suspect that Ford Motor Company would be happy if your response is: Mark Image

On July 29, 2009, Ford filed a federal intent-to-use trademark application for the blue oval background design without the word Ford, describing the wordless claimed design mark as "concentric ovals, the outermost oval being a thin blue oval followed by a slightly thicker white oval inside the first blue oval, inside the aforementioned white oval is a completely filled in blue oval" for various motor vehicles and various automotive parts and components.

Curious that Ford didn't file the wordless blue oval design as a trademark already in use, given how long it has been in use with Ford superimposed on the design, and given Section 1202.11 of the Patent and Trademark Office's "Trademark Manual of Examining Procedure" (TMEP), which sets forth the applicable test for registration under these circumstances:

“A background design which is always used in connection with word marks must create a commercial impression on buyers separate and apart from the word marks for the design to be protectible as a separate mark. In deciding whether the design background of a word mark may be separately registered, the essential question is whether or not the background material is or is not inherently distinctive.... If the background portion is inherently distinctive, no proof of secondary meaning need be introduced; if not, such proof is essential.”

"Common geometric shapes, when used as vehicles for the display of word marks, are not regarded as indicators of origin absent evidence of distinctiveness of the design alone."

"Additionally, . . .  color can never be inherently distinctive."

Will Ford be able to prove the wordless blue oval background design is inherently distinctive under this standard? If not, proof of acquired distinctiveness or secondary meaning will be essential for success. Will Ford be able to establish secondary meaning in the blue oval design as a stand alone mark even though it apparently hasn't been used alone yet?

We'll keep a close eye on this one and let you know how the Ford application progresses. 

While we're on the subject of whether a background design creates a commercial impression on buyers separate and apart from the matter omitted for registration purposes, can you name the source of this background design?

Mark ImageFYI, this claimed mark appears poised to be approved by the Trademark Office and published for opposition as a stand-alone mark, even though it doesn't appear to be literally, physically, or actually standing alone, i.e., without the prancing horse design or brand name

Touch Trademarks and Tactile Brands With Mojo: Feeling the Strength of a Velvet, Turgid, Touch Mark?

Let's revisit the topic of non-traditional "touch" trademarks today.

Of all the traditional five human senses (sight, hearing, taste, smell, and touch) and trademarks that can be perceived by one or more of those senses, touch, a/k/a tactile, a/k/a texture trademarks are just about as uncommon as any (taste, perhaps, being the least common). Indeed, back in 2006, Marty Schwimmer from The Trademark Blog correctly noted the dearth of recognized tactile marks. Moreover, despite a 2006 INTA Board of Directors' Resolution supporting the protection of touch marks, few appear to have reached for or grabbed any such protection (putting aside Kimberly-Clark, already blogged about here).

As arguably one of the most intimate of the senses: 'Touch is the first sense developed in the womb and the last sense used before death." Given that and given other unique characteristics of "touch" among the senses, it is a bit surprising that touch marks haven't been pursued more by marketers looking to create intimate, emotional connections with a brand: "Another distinction of the sense of touch is that it is identified with the real. You can't believe your eyes, nor your ears, and taste is personal and subjective, but touch is proof." By the way, since touch/tactile/texture marks are so uncommon, why can't we agree on what to call them? For what its worth, my vote is to call them "touch" marks since that is the term that names the underlying basic human sense.

Anyway, with that background, as far as I can tell, the one industry that seems to show the most promise or, at least, interest in touch trademarks, is the alcoholic beverages industry, most particularly those companies that focus on selling distilled spirits or wine.

                                                                 

Now, fabric bags for holding bottles of distilled spirits and wine have been around for a while. In fact, Crown Royal's iconic purple-colored velvet pouch bag apparently has been distributed in the U.S. since 1964, and the visual appearance of the bag without any wording was federally registered by Diageo as a non-traditional visual trademark in 2006, in the form depicted above on the right. Despite the fact that the U.S. Supreme Court has indicated in Wal-Mart v. Samara that product containers and packaging may be considered inherently distinctive, the Crown Royal purple pouch bag was only registered after Diageo made a compelling showing of "secondary meaning," i.e., acquired distinctiveness.

Although Diageo appears to have made no attempt yet to federally register or protect the velvet touch or feel of the Crown Royal pouch bag, American Wholesale Wine & Spirits, Inc., obtained a federal trademark registration toward the end of 2006 for a touch mark comprising "a velvet textured covering on the surface of a bottle of wine." Interestingly, the wine label on file with the Trademark Office shows Khvanchkara (apparently a favorite of former Soviet leader Joseph Stalin)as the related name brand to this touch mark, but the word mark is owned by someone else.

Anyway, during prosecution of the "velvet touch" trademark application for wine, the Trademark Office noted the sale of velvet bags for use in carrying wine and distilled spirit bottles, particularly the Crown Royal whiskey bottle example. However, convincing the Trademark Office that the "velvety touch" of the Khvanchkara wine bottle was so unique as to be inherently distinctive, American Wholesale successfully argued the difference between the "loose fitting bag" of Crown Royal and others as compared to how Khvanchkara's "glass bottle is tightly encased within a velvety fabric," and perhaps most importantly, noted: " [T]he FEEL of a LIMP bag is quite different from the FEEL of a TURGID velvety surface attached to a wine bottle." Alrighty then, I suppose that argument ought to limit the scope of the resulting "velvet touch" registration, to tight fitting wine bottle covers confusingly similar to velvet fabric (silk, nylon, acetate, rayon, etc.), right?

Maybe not, at least, in uncontested registration refusals issued by the Trademark Office where the limp/turgid argument doesn't appear on the face of the registration. I was more than a bit surprised to learn of the exceedingly broad scope this registration has enjoyed by at least one Examining Attorney with the U.S. Trademark Office. For example, the Khvanchkara "velvet touch" registration served to bar registration of another company's leather touch mark for wine, describing the claimed mark as: "[A] leather-like textured covering on the surface of a bottle of wine, brandy or grappa." Here was the Trademark Office Examining Attorney's analysis in refusing a leather touch based on the prior velvet touch: "Although the coverings are different materials, both are highly textured and closely cover the glass wine container. The marks are therefore highly similar in appearance . . . . The goods at issue are all wine. Purchasers could mistakenly believe that the goods come from a common source." (Putting aside the obvious tactile differences between leather and velvet, why is the Examining Attorney comparing the "appearance" of the touch marks, shouldn't the "texture and feel" be the appropriate point of comparison?)

In addition, back to the prosecution of the "velvet touch" non-traditional trademark application, you might be interested to know that the Trademark Office warned how functional features of products cannot be protected or registered under any circumstances, and in response, American Wholesale represented "applicant's velvety material has no utilitarian function," and it is "entirely non-functional": "There is no function for applicant's velvety feel of its wine bottles other than to distinguish them from all other wine bottles, which lack a similar feel, and to indicate the source of the wine, from applicant."

Actually, one might wonder about the validity of the "velvet touch" registration for Khvanchkara wine and whether the claimed "velvet touch" functions more to communicate information about a "velvety" characteristic of the wine instead of single source, trademark information, since "velvety" is a known "wine tasting term used to describe the texture of tannin in some red wines." Indeed, online retailer BestinWine.com says this about the very Khvanchkara red wine in question: "The taste is velvety with a blend of vintage flavours." Aaron Linderman's From the Cradle of Wine Blog says this about Khvanchkara red wine too: "The taste is harmonious and velvety with a raspberry flavor and subtle oak tones resulting from the fermentation process." Isn't this somewhat analogous to treating the color yellow as functional and part of the public domain for yellow-colored safety products? If so, to avoid providing one with an unfair competitive advantage over another, shouldn't "velvet touch" wine bottle coverings be available for use in connection with any wine having a "velvety" quality, whether or not the covering is limp, loose, tight, or turgid?