Notes for the slides: This presentation demonstrates the processes in place that enable the Yale University Art Gallery to make works available online as part of our Open Access policy.

1. My
name
is
John
ffrench
and
I
am
the
Director
of
Visual
Resources
at
the
Yale
University
Art
Gallery.
I
oversee
the
imaging
department
which
photographs
the
collecBon
and
also
events,
exhibiBons,
etc
as
well
as
overseeing
the
Rights
and
ReproducBons
office
who
deal
with
the
disseminaBon
of
images
for
external
requests
and
clearing
of
rights
for
internal
projects.
2

2. Once
Open
Access
was
announced
in
2011,
it
quickly
became
apparent
that
a
campus
commiNee
would
be
needed
to
address
various
issues
related
to
Open
Access.
Perhaps
surprisingly
one
of
the
things
we
needed
to
iniBally
tackle
was
what
was
the
definiBon
of
Public
Domain.
With
the
various
collecBons
on
campus
there
were
varying
copyright
laws
that
needed
to
be
considered
and
no
firm
hard
line
could
be
easily
drawn
(at
least
not
without
going
too
far
back
in
Bme).
At
the
Gallery,
and
in
general
at
Yale,
the
determinaBon
was
that
a
creaBon
date
of
1923
or
earlier
would
be
a
safe
enough
rule
to
put
in
place,
this
of
course
has
some
grey
area
as
some
arBst
died
less
than
70
years
ago
but
created
works
prior
to
1923.
In
those
cases
we
look
at
the
arBsts
and
the
works
to
make
determinaBons
on
how
comfortable
we
feel.
For
cultural
objects
(African
Art
and
Indo-­‐Pacific
Art
as
well
as
Coins
and
Medals)
we
made
the
decision
to
make
those
available
–
not
labeled
as
Public
Domain,
but
rather
‘cultural
object’.
Due
to
costs
involved
in
researching
whether
copyright
was
indeed
applied
for
in
these
early
works
at
Bmes
we
find
it
easier
to
agree
to
pay
Rights
usage
fees
rather
than
try
to
assert
a
public
domain
claim.
Something
on
campus
we
are
sBll
working
through
is
what
defines
PublicaBon
when
it
comes
to
copyright,
and
other
issues
are
sBll
being
addressed
by
the
commiNee.
3

3. CollecBvely
on
campus
the
various
groups
parBcipaBng
in
Open
Access
came
up
with
a
list
of
what
we
felt
would
be
FAQs
and
can
all
point
our
websites
to
this
one
locaBon
for
a
common
voice.
4

4. At
YUAG
we
use
TMS
by
Gallery
System
as
our
collecBons
database.
We
see
TMS
as
the
object
authority
and
this
is
where
we
store
basic
informaBon
about
the
Intellectual
Property
rights
for
objects.
This
is
an
important
beginning
phase
for
us
as
several
fields
within
TMS
and
the
R&R
screen
create
triggers
for
workflows
down
the
line
5

5. One
of
our
systems
programmers
has
wriNen
code
that
can
automaBcally
assign
some
informaBon
about
rights
by
looking
at
the
date
created
field
whenever
a
new
record
is
created
in
the
database.
Each
night
the
program
runs
and
then
sends
an
e-­‐
mail
to
designated
staff
who
can
review
the
seengs
and
as
needed
make
adjustments.
6

6. UBlizing
the
ORT
field
in
TMS
we
assign
objects
as
being
unknown,
under
copyright
-­‐
to
varying
degrees,
or
in
the
Public
Domain.
At
the
Gallery
we
have
automated
much
of
this
by
drawing
a
line
in
the
copyright
sand
by
deciding
the
objects
created
prior
to
1923
were
for
the
most
part
Public
Domain.
Those
between
1923-­‐1935
require
more
research
before
we
can
switch
them
over
(Status
Unclear)
or
the
are
leh
as
Not
Assigned
unBl
we
have
done
the
research
as
to
Copyright
status.
We
also
made
the
decision
that
objects
in
our
African
Art,
Indo-­‐Pacific
Art
and
Coins
and
Medals
departments
would
all
be
made
available
for
download.
Those
prior
to
1923
are
marked
as
Public
Domain,
those
aher
1923
are
marked
as
Cultural
Object.
In
discussions
with
the
curators
of
those
departments
they
felt
the
maker
was
not
something
that
would
be
generally
known,
or
it
was
a
tribal
effort
to
make
the
object
so
there
was
no
one
maker.
We
have
made
a
definiBon
of
what
Cultural
Object
is
to
YUAG
on
our
‘using
images’
page.
7

7. If
a
work
is
under
copyright
and
we
can
idenBfy
who
the
rights
holder
is,
we
enter
that
informaBon
in
TMS
by
linking
them
as
a
rights
consBtuent
(we
store
address,
phone,
email,
contact
name,
etc)
and
then
we
also
enter
in
the
Copyright
string
the
arBst/foundaBon
has
requested
be
used
in
reproducBons.
This
informaBon
programmaBcally
then
appears
on
our
website
below
the
image
(I'll
speak
more
to
this
shortly)
8

8. For
works
which
are
under
copyright,
but
where
we
have
a
wriNen
agreement
in
place
with
the
arBst
to
display
more
than
a
thumbnail,
we
set
the
ORT
accordingly
and
then
also
link
the
PDF
file
and
file
name
to
TMS.
In
this
case
shown
here,
the
ArBst
Kerry
James
Marshall
gave
YUAG
permissions
to
display
his
works
online
at
larger
than
a
thumbnail,
but
also
gave
us
non-­‐exclusive
permission
to
use
images
of
his
work
in
YUAG
created
publicaBons
without
needing
to
seek
permission
each
Bme.
9

9. One
thing
we
have
added
to
the
acquisiBon
process
since
Open
Access
came
along
is
that
we
now
ask
a
set
of
quesBons
on
our
Deed
of
Gih
forms
so
that
donors
can
share
informaBon
with
us
about
the
objects
they
are
giving/selling
the
Gallery.
More
recently
we
have
split
the
deed
of
gih
form
into
one
for
Objects
in
Public
Domain,
and
one
for
those
not
to
ease
the
load.
10

10. Moving
more
towards
the
nuts
and
bolts
of
delivering
images,
most
of
the
cultural
insBtuBons
at
Yale
use
the
same
DAM,
Media
Manager
by
Open
Text
which
beyond
managing
our
digital
assets,
also
allows
us
to
manage
the
permission
seengs
for
files.
The
ORTs
which
are
set
in
TMS
are
then
mapped
to
MM
to
create
what
we
call
CDS
numbers.
CDS
stands
for
Content
Delivery
Service
which
is
a
program
that
exports
derivaBve
files
from
Media
Manager
and
makes
them
available
to
our
various
content
providers
(mainly
our
websites,
but
we
are
also
now
working
with
ARTstor
to
give
them
access
to
this)
In
MM
the
informaBon
is
stored,
and
is
editable
to
R&R
staff
and
curators.
They
can
adjust
CDS
seengs
as
needed
to
in
some
cases
shield
the
image
from
view,
but
sBll
be
accessible
within
our
MM.
11

11. On
our
website
we
are
providing
images
of
any
works
in
our
collecBons
with
at
minimum
a
thumbnail
image
(following
AAMDs
thumbnail
policy).
We
do
provide
the
rights
informaBon
where
we
have
it,
fed
from
TMS,
and
we
then
provide
a
link
to
our
R&R
page.
Currently
we
require
people
to
fill
out
a
PDF
and
e-­‐mail
that
in,
but
are
finalizing
work
to
have
an
online
webform
people
can
fill
out
and
submit
12

12. 13

13. On
our
website
we
are
providing
images
of
any
works
in
our
collecBons
with
at
minimum
a
thumbnail
image
(following
AAMDs
thumbnail
policy).
We
do
provide
the
rights
informaBon
where
we
have
it,
fed
from
TMS,
and
we
then
provide
a
link
to
our
R&R
page.
Currently
we
require
people
to
fill
out
a
PDF
and
e-­‐mail
that
in,
but
are
finalizing
work
to
have
an
online
webform
people
can
fill
out
and
submit.
14

14. For
works
in
the
Public
domain
we
are
making
a
Powerpoint
'presentaBon'
image
available
to
users
as
well
as
a
20MB
Bff
file.
The
20MB
Bff
was
based
on
ARTstors
IAP
model
of
image
sizes
and
we
felt
would
sit
most
users
needs.
Where
we
have
mulBple
images
available
we
offer
that
to
users
as
well.
JPF
files
are
direct
download,
however
Tiff
files
require
a
user
to
pass
through
captcha,
this
is
to
reduce
the
risk
of
a
robot
program
going
through
and
scrapping
all
our
images
-­‐
more
of
a
performance
issue.
If
users
want
larger
than
a
20MB
file
they
an
request
that
and
using
the
R&R
form
will
be
sent
the
full
size
Bff
via
HighTail
(aka
YouSendIT)
15

15. As
parBally
a
selfless
plug,
but
more
so
to
promote
work
that
has
begun
on
a
publicaBon
which
will
cover
various
topics
of
Rights
and
ReproducBons
and
cover
Open
Acces,
Public
Domain,
etc
as
part
of
its
topics.
If
you
have
other
topics
you
would
like
to
see
covered
contact
Anne
Young
of
the
IMA.
16

16. Thank
you
for
your
Bme,
and
please
contact
me
if
you
have
quesBons.
17