“[48] In order to establish that there is the requisite commercial connection, the Claimant must show that the Defendants' activities were such that normally informed and reasonably attentive customers would be unable, or would be able only with difficulty, to ascertain whether the goods in question originate from the Claimant (as proprietor of the AGA Marks) or from an undertaking economically linked to it or, on the contrary, originate from a third party, such as the Defendants (see Portakabin at [80]-[81] and Viking at [40]).”
“[51] In effect, the website was offering customers the opportunity to "Buy an eControl AGA" (as pictured, with a warranty and, it seems, available in one of a range of colours) and/or the opportunity to convert an existing AGA Cooker using the eControl System. [52] In my judgment, these statements taken as a whole were likely to give customers the impression that what they were being offered was an AGA product (an eControl AGA, one of a range of AGA products) and this was something about which the Claimant could legitimately object. […]”
“81. It follows that the circumstances, referred to in [54] above, in which a trade mark proprietor is, pursuant to art.5(1) of Directive 89/104, entitled to prohibit use by an advertiser of a sign identical with, or similar to, that trade mark as a keyword—that is to say, circumstances in which use of that sign by the advertiser does not enable normally informed and reasonably attentive internet users, or enables them only with difficulty, to ascertain whether the goods or services referred to by the ad originate from the proprietor of that mark or from an undertaking economically linked to it or, on the contrary, originate from a third party—correspond to a situation in which art.7(2) of that directive applies and in which, accordingly, the advertiser cannot rely on the exhaustion rule laid down in art.7(1) of Directive 89/104.”
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“(1) It is not an infringement of any copyright in a design document or model recording or embodying a design for anything other than an artistic work or a typeface to make an article to the design or to copy an article made to the design. (2) ... (3) In this section— ‘design’ means the design of the shape or configuration (whether external or internal) of the whole or part of an article, other than surface decoration; and ‘design document’ means any record of a design, whether in the form of a drawing, a written description, a photograph, data stored in a computer or otherwise.” ‘design’ means the design of the shape or configuration (whether external or internal) of the whole or part of an article, other than surface decoration; and ‘design document’ means any record of a design, whether in the form of a drawing, a written description, a photograph, data stored in a computer or otherwise.”
“In this Part— … ‘graphic work’ includes— (a) any painting, drawing, diagram, map, chart or plan, and (b) any engraving, etching, lithograph, woodcut or similar work; …”
“It is true … that the statute defines ‘graphic work’ to include the types of work listed and the list is therefore not exhaustive. It does not follow that the definition is endlessly flexible. All the examples of a graphic work set out in the subsection are created by the author making marks on a substrate to generate an image. I do not think that the definition of a graphic work can be stretched to include a fabric, whether made on a loom or a knitting machine.”
“… the essential nature of a graphic work, as the present Act calls it, is that it is a thing to be looked at in some manner or other. It is to be looked at in itself. I believe that the essence of the reasoning in Interlego AG v. Tyco Industries Ltd [1988] R.P.C. 343 at 373 is that what matters in relation to artistic works, particularly drawings, is that which is ‘visually significant’, a phrase originally used by Whitford J. in Rose Plastics GmbH v. William Beckett & Co (Plastics) Ltd [1989] F.S.R. 113. In the context of that case it was that which was visually significant by way of changes from earlier drawings which was being considered, the issue being whether there was originality. But the phrase ‘visually significant’, as used by Whitford J. and approved by the Privy Council arose in an infringement case. I cannot see why that which matters from the point of view of originality does not matter equally from the point of view of infringement. So [the claimant’s] argument on the basis that the circuit diagram is an artistic work fails because the alleged infringement simply does not look like the artistic work.Yes, it was made using information contained in the artistic work, but that is not enough.”
“Of or relating to drawing or painting. graphic arts: the fine arts of drawing, painting, engraving, etching, etc.; also, the techniques of production and design involved in printing and publishing; graphic design: graphics (sense B.2); so graphic designer.”
“(a) Where something satisfies the conditions for the subsistence of copyright (i.e. where it is original in the sense that it is the expression of its author's own intellectual creation and is identifiable with sufficient precision and objectivity), then that thing is a work that is entitled to copyright protection - see [30], [32] and [35]. (b) This applies equally to a work which is a design (see [48]). However, in design cases, particular care must be exercised in assessing whether the design really does satisfy the above test and whether it merits being classified as a work for the purposes of copyright (see [49]-[52]). In this regard, the fact that the design generates an aesthetic effect is not enough. Its author must have exercised creative choices (see [53]-[55]). (c) Where a design satisfies this test, it is entitled to a cumulation of protection under both design law and copyright law (see [45], [47] and [52]) and member states are precluded from enacting a provision under which that design would only qualify for copyright if it generated a specific, aesthetically significant visual effect (see [56]).”