To:
`
`Subject:
`
`Sent:
`
`Sent As:
`
`Attachments:
`
`Crayola Properties, Inc. (lschuv1@hallmark.com)
`
`U.S. TRADEMARK APPLICATION NO. 77895829 - POP ART PIXIES - N/A
`
`2/23/2010 5:56:15 PM
`
`ECOM116@USPTO.GOV
`
`Attachment - 1
`Attachment - 2
`Attachment - 3
`Attachment - 4
`Attachment - 5
`Attachment - 6
`Attachment - 7
`Attachment - 8
`Attachment - 9
`Attachment - 10
`Attachment - 11
`Attachment - 12
`Attachment - 13
`Attachment - 14
`Attachment - 15
`Attachment - 16
`Attachment - 17
`Attachment - 18
`Attachment - 19
`Attachment - 20
`
`UNITED STATES PATENT AND TRADEMARK OFFICE
`
`(cid:160) (cid:160)(cid:160)(cid:160) SERIAL NO:(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`(cid:160)(cid:160)(cid:160)(cid:160) MARK: POP ART PIXIES(cid:160)(cid:160) (cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`(cid:160) (cid:160)
`ALBERT P. MAURO, JR., ESQ.(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`HALLMARK CARDS, INCORPORATED(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`(cid:160)(cid:160)(cid:160) KANSAS CITY, MO 64108-2600(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160) APPLICANT:(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`(cid:160) Crayola Properties, Inc.(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160) (cid:160)(cid:160)(cid:160)(cid:160)(cid:160) CORRESPONDENT’S REFERENCE/DOCKET NO :(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`(cid:160)(cid:160)(cid:160)
`N/A(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160) CORRESPONDENT E-MAIL ADDRESS:(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`*77895829*
`
`RESPOND TO THIS ACTION:
`http://www.uspto.gov/teas/eTEASpageD.htm
`
`(cid:160)G
`
`ENERAL TRADEMARK INFORMATION:
`http://www.uspto.gov/main/trademarks.htm
`
`77/895829
`
`(cid:160)(cid:160)(cid:160) CORRESPONDENT ADDRESS:
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`2501 MCGEE ST
`
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`lschuv1@hallmark.com
`
`OFFICE ACTION
`
`(cid:160)T
`
`(cid:160)I
`
`SSUE/MAILING DATE: 2/23/2010
`
`O AVOID ABANDONMENT, THE OFFICE MUST RECEIVE A PROPER RESPONSE TO THIS OFFICE ACTION WITHIN 6 MONTHS
`OF THE ISSUE/MAILING DATE.
`
`

`
`TEAS PLUS APPLICANTS MUST SUBMIT DOCUMENTS ELECTRONICALLY OR SUBMIT FEE:(cid:160) Applicants who filed their application
`online using the reduced-fee TEAS Plus application must continue to submit certain documents online using TEAS, including responses to
`Office actions.(cid:160) For a complete list of these documents, see TMEP §819.02(b).(cid:160) In addition, such applicants must accept correspondence from the
`Office via e-mail throughout the examination process and must maintain a valid e-mail address.(cid:160) 37 C.F.R. §2.23(a)(2); TMEP §§819, 819.02(a).(cid:160)
`TEAS Plus applicants who do not meet these requirements must submit an additional fee of $50 per international class of goods and/or services.(cid:160)
`37 C.F.R. §2.6(a)(1)(iv); TMEP §819.04.(cid:160) Responding by telephone to authorize an examiner’s amendment will not incur this additional fee.
`
`The referenced application has been reviewed by the assigned trademark examining attorney.(cid:160) Applicant must respond timely and completely to
`the issue raised below.(cid:160) 15 U.S.C. §1062(b); 37 C.F.R. §§2.62, 2.65(a); TMEP §§711, 718.03.
`
`SEARCH OF OFFICE’S DATABASE OF MARKS
`
`(cid:160) T
`
`he Office records have been searched and there are no similar registered or pending marks that would bar registration under Trademark Act
`Section 2(d), 15 U.S.C. §1052(d). TMEP §704.02.
`
`(cid:160)D
`
`ISCLAIMER REQUIRED
`
`(cid:160)A
`
`pplicant must disclaim the descriptive wording “POP ART” apart from the mark as shown because it merely describes the type of artistic
`features on the goods which are the subject matter of the goods sold on the website.(cid:160) Please see the attachments.(cid:160) See 15 U.S.C. §1056(a); TMEP
`§§1213, 1213.03(a).
`
`(cid:160)T
`
`he computerized printing format for the Office’s Trademark Official Gazette requires a standardized format for a disclaimer.(cid:160) TMEP
`§1213.08(a)(i).(cid:160) The following is the standard format used by the Office:
`
`No claim is made to the exclusive right to use “POP ART” apart from the mark as shown.
`
`(cid:160)T
`
`MEP §1213.08(a)(i); see In re Owatonna Tool Co., 231 USPQ 493 (Comm’r Pats. 1983).
`
`IDENTIFICATION OF SERVICES
`
`(cid:160)T
`
`he identification of services is indefinite and must be clarified because the nature of the services provided on the website must be specified and
`the type of subscriptions and general category of merchandise featured must be more specifically identified.(cid:160) See TMEP §1402.01.(cid:160) Applicant
`may adopt the following identification, if accurate:(cid:160) Retail store services provided via a website featuring magazine subscriptions and arts and
`
`crafts and home décor merchandise.(cid:160)(cid:160)
`
`For assistance with identifying and classifying goods and/or services in trademark applications, please see the online searchable Manual of
`Acceptable Identifications of Goods and Services at http://tess2.uspto.gov/netahtml/tidm.html.(cid:160) See TMEP §1402.04.
`
`Identifications of services can be amended only to clarify or limit the services; adding to or broadening the scope of the services is not permitted.(cid:160)
`37 C.F.R. §2.71(a); see TMEP §§1402.06 et seq., 1402.07.(cid:160) Therefore, applicant may not amend the identification to include services that are not
`within the scope of the services set forth in the present identification.
`
`(cid:160)M
`
`ULTIPLE – CLASS APPLICATION REQUIREMENTS
`
`The application identifies services that could be classified in other classes depending upon their nature; however, the fees submitted are
`sufficient for only 1 class.(cid:160) In a multiple-class application, a fee for each class is required.(cid:160) 37 C.F.R. §2.86(a)(2); TMEP §§810.01, 1403.01.
`
`(cid:160)T
`
`herefore, applicant must either (1) restrict the application to the number of classes covered by the fee(s) already paid, or (2) submit the fees for
`
`the additional class(es).(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`(cid:160)(cid:160)
`(cid:160)(cid:160)
`(cid:160)(cid:160)
`(cid:160)
`(cid:160)(cid:160)
`(cid:160)(cid:160)
`(cid:160)(cid:160)
`

`
`If applicant has questions about its application or needs assistance in responding to this Office action, please telephone the assigned trademark
`examining attorney.
`
`/Nora Buchanan Will/
`Examining Attorney
`Law Office 116
`ph 571-272-9135
`fax 571-273-9116
`
`(cid:160)(cid:160)
`RESPOND TO THIS ACTION:(cid:160)Applicant should file a response to this Office action(cid:160)online using the form at
`http://www.uspto.gov/teas/eTEASpageD.htm, waiting 48-72 hours if applicant received notification of the Office action via e-mail.(cid:160)(cid:160)For
`technical assistance with the form, please e-mail TEAS@uspto.gov.(cid:160) For(cid:160)questions about the Office action itself, please contact the assigned
`examining attorney.(cid:160)(cid:160) Do not respond to this Office action by e-mail;(cid:160)the USPTO does not accept e-mailed responses .
`
`(cid:160)I
`
`f responding by paper mail, please include the following information: the application serial number, the mark, the filing date and the name,
`title/position, telephone number and e-mail address of the person signing the response.(cid:160) Please use the following address: Commissioner for
`Trademarks, P.O. Box 1451, Alexandria, VA 22313-1451.
`
`(cid:160)S
`
`TATUS CHECK: Check the status of the application at least once every six months from the initial filing date using the USPTO Trademark
`Applications and Registrations Retrieval (TARR) online system at http://tarr.uspto.gov.(cid:160) When conducting an online status check, print and
`maintain a copy of the complete TARR screen.(cid:160) If the status of your application has not changed for more than six months, please contact the
`assigned examining attorney.
`
`(cid:160)(cid:160)(cid:160)
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`

`
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`WIKIPEDIA
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`
`This is about the 'a.r't movement For other uses seem all; (di'sambi'guati'on).
`R an is a visual aft movement that emerged in the mid 1950s in Britain and in the late 1950s in the United Statesm H a'r't
`challenged tradition by asserting that an artist's use ofthe mass-produced visual commodities ofpopular culture is contiguous
`with the perspective offine a,'Ijl. W removes the material from its context and isolates the object, or combines it with other
`objects, for contemp|ation.m[2] The concept offlafrt refers not as much to the art itselfas to the attitudes that led to it [2]
`5 art is an art movement ofthe twentieth century. Characterized by themes and techniques drawn from popular mass
`culture, such as advertising, comic books and mundane cultural objects, E in is widely interpreted as a reaction to the then-
`dominant ideas ofabstract expressionism, as well as an expansion upon them.l3] mart, aimed to employ images of popular
`as opposed to elitist culture in a_I_‘_l, emphasizing the banal or kitschy elements ofany given culture, most ofien through the use
`ofirony.[2] It is also associated with the artists‘ use ofmechanical means of reproduction or rendering technigues.
`Much om an is considered incongruent, as the conceptual practices that are often used make it dillicult for some to readily
`comprehend flan and minimalism are considered to be afi movements that precede postmodern aft, or are some ofthe
`earliest examples ofF'ostmodern m:lthemse|ves.[4l
`fl
`oflen takes as its imagery that which is currently in use in advertising.[5] Product labeling and logos figure prominently
`in the imagery chosen by Q artists, like in the Campbell's Soup Cans labels, by Andy Warhol. Even the labeling on the
`shipping canon containing retail items has been used as subyect matter in a éift, for example in Warhol's Campbell's Tomato
`Juice Bo><19E4, (pictured below), or his Brilfo Soap Box sculptures.
`
`Contents [hide]
`
`1 Origins
`2 In Britain: The Independent Group;
`3 In the United States
`31 Early exhibitions
`3 2 Proto-M
`at In Spain
`5 In Japan
`5 In Italy
`7 Elniniinn mm r\r\IIIVN‘II>‘l'I n\u'ivv\nlnr'\
`
`
`
`El
`Richard Harnilton.he Just What Is It That Makes
`Todajfs Homes 30 Di'fi’ereht, So Appea.I’i'hg (1956) IS one
`of the earliest works to be considered "E
`
`
`
`

`
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`D2.-Q3i"2D1D D5124 53 PM
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`‘F1
`
`1' Painting and sculpture examples
`E Notable artists
`9 See also
`10 Notes and references
`11 Furtherreading
`12 External links
`
`Origins
`
`Andy Warhol, Campbeffs Tomato JiJi'ce Box, 1954,
`Synthetic polymer paint and silkscreen ink on wood,1D
`inches x 19 inches x 9 ti? inches (25 4 x 4B 3 x 241 cm),
`Museum of Modern Art, New York City
`
`L"l—‘
`
`[edit]
`
`The nrigins nf- an in Nnrth America, China and Great Britain rlevelnperl slightly differently [2] In America, it marked a return tn harrl—erlgerl nnmpnsitinn and representational art as a
`response by artists using impersonal, mundane reality, irony and parody to defuse the personal symbolism and "painterly looseness" ofAbstract Expressionism BN5] By contrast, the
`origin in post-War Britain, while employing irony and parody, was more academic with a focus on the dynamic and paradoxical imagery ofAmerican popular culture as powerful,
`manipulative symbolic devices that were affecting whole patterns oflife, while improving prosperity ofa societylfil Early - art in Britain was a matter of ideas fueled by American
`popular culture viewed from afar, while the American artists were inspired by the experiences of living within that culturelsl However, - art also was a continuation ofcertain aspects
`of/\bstract Eitprcssionism, such as a belief in the possibilities for "art, especially for large scale artwor|<.[3l Similarly, -'“«_aI'_l was both an eittcnsion and a repudiation ofDadaism [3]
`While - art and Dadaism explored some ofthe same subjects, - art replaced the destructive, satirical, and anarchic impulses ofthe Dada movement with detached affrmation of
`the artifacts ofmass culture [3] Among those artists seen by some as producing work leading up to - art are Pablo Picasso, Marcel Duchamp, Kurt Schwitters, and Man Pay
`
`in Britain: The Independent Group
`
`[edit]
`
`The Independent Group (IGJ, founded in London in 1952, is regarded as the precursorto the - an movement.l"]["l They were a gathering
`of young painters, sculptors, architects, writers and critics who were challenging prevailing modernist approaches to culture as well as
`traditional views ofFine Art The group discussions centered around popular culture implications from such elements as mass advertising,
`movies, product design, comic strips, science fiction and technology At the first Independent Group meeting in 1952, co-founding member,
`artist and sculptor Eduardo Paolozzi presented a lecture using a series of collages titled Elunfid that he had assembled during his time Paris
`between 1911?-19r1El.l"lm This material consisted of ‘found objects‘ such as, advertising, comic book characters, magazine covers and
`various mass produced graphics that mostly represented American popular culture. One ofthe images in that presentation was Paolo2zi's
`194? collage, lwas a Rich Man's Plaything, which includes the first use ofthe word appearing in a cloud ofsmol-<e emerging from a
`revolvermlsl Following Pao|ozzi‘s seminal presentation in 1952, the IG focused primarily on the imagery ofAmerican popular culture,
`particularly rriass dUVtslll‘:ill|g."F""
`Subsequent coinage ofthe complete term ‘i art" was made by John McHa|e forthe ensuing movement in 1954 "- art" as a moniker
`was then used in discussons by IG members in the Second Session ofthe IG in 1955, and the specific term
`aI'-t"first appeared in
`published print in an article by lG members Alison and Peter Smithson in Arc, 1955 [9]. However, the term is often credited to British art
`criticfcurator, Lawrence Alloway in a 1958 essay titled Tl"lE'At‘i.S andthe Mass .Media, although the term he uses is "popular mass culture"
`["0] Nevertheless, Alloway was one ofthe leading critics to defend the inclusion ofthe imagery found in mass culture in fine a'rt.
`
`[edit]
`
`In the United States
`
`
`
`Although the movement began in the late 1950s, -Art in America was given its greatest
`impetus during the 1ElBBs By this time, American advertising had adopted many elements and
`inflections ofmodern art and functioned at a very sophisticated level. Consequently, American
`artists had to search deeperfor dramatic styles that would distance art from the well-designed and
`clever commercial materials.[5] As the British viewed American popular culture imagery from a
`somewhat removed perspective, theirviews