How Does It Work With Signed and Numbered Art

Finally, we're getting to the less discussed topic of producing fine fine art prints: signing. I've had a few people ask the same questions about where to sign, how to sign, what to sign with, etc. If at that place existed an official rule book, gear up of laws, or holy parchment that contained the answers I'd direct everybody to the web page. But I don't retrieve something like that exists, and I know the procedure of signing fine fine art is less than defined.

Even if these things aren't divers in a strict technical fashion, there are some traditional ways of doing things. Tradition is fine and dandy, but at that place are also alternative methods to every aspect of signing prints. In this article, nosotros'll explore some of the options and discuss a few of the things you might think virtually while producing your fine art prints.

WHY SIGN A Print?

photo credit: hunterseakerhk

The biggest reason to sign a impress is to testify that you corroborate of it. Your signature is the thing that states "I made this impress. It is of the highest quality, and it deserved to be viewed as fine art. I stand backside this impress and I put my name on the line." OK, then not everybody is quite so dramatic, just signing a print is a really big bargain! It's like signing a check — if you didn't write the check, and you lot don't accept the funds to back information technology upwardly, you wouldn't sign it. Right? Same thing with prints — if y'all didn't make the impress, and y'all don't have the confidence to back it up, don't sign information technology! (Of grade, "making the impress" tin hateful many things. Merely basically, information technology means that you know who fabricated it, how they made it, and you lot trust them — and then this could be yourself or a third party.)

Some other reason yous might sign a print is to increase the value of the piece. Since the signature states that the print was truly produced and/or approved by the artist, information technology becomes more than desirable to art collectors. Unsigned reproductions tin can work fine for decoration or personal admiration, merely they won't hold the same value as a signed print. Add in the option of limiting your work (which we'll cover in a moment) and you introduce scarcity, which in turn produces a higher (perceived and/or real) value.

One more reason you should think about signing prints is to promote yourself as an creative person. A signature is easily recognized by people viewing the print. Whether it's legible or not, your name is still on the print and yous're promoting your make. It doesn't matter if the print is in a gallery, a private dwelling, a banking concern, or a diner — the signature (brand) will be seen.

BEFORE Y'all Print…

One thing you'll desire to think about is "extra room" when you print your photo. That means leaving a border around the actual impress, whether it be white space or a printed color (including black). As you read through the balance of the commodity, this will make more sense. Nosotros'll also talk about this idea of "extra room" in the next article when we embrace mounting, matting, and framing.

WHAT TO SIGN WITH

Above all, if you decide to sign a print, the stuff you sign with should be of equal or greater archival quality to the print itself. There's no point in producing a print to last 200 years, only to sign information technology with a Sharpie or something. Once you sign, that ink or paint becomes function of the impress, and y'all desire it to last. Art stores typically carry archival pens for signing various mediums. Some are ink and some are pigment. Either way, brand certain the contents of the pen are acrid-free and archival quality.

I sign my prints with paint pens (archival of course). These things are like shooting fish in a barrel to discover at art stores, and they're quite reliable. They lay down a good amount of liquid and the tips are quite gentile on the print surface. These things have a bit of getting used to, but they're non incommunicable to utilize.

Some other matter to think nearly is the colour of your pen. Black is an obvious choice since it works for well-nigh whatsoever situation, but information technology's non the just option. I usually sign my black and white prints with a silverish pigment pen and my color prints with a black pen. Sometimes I'll break that rule, depending on the state of affairs and the item print. The color you sign with can be as recognizeable as the signature itself, so find something that works for you and stick with it.

Pencil is as well used by some artists, especially when signing on mats rather than print textile. I don't accept much feel with this, but I tin can't quite go into information technology because it seems so temporary compared to paint or ink — but to each their own. I'd be curious to hear the thoughts of pencil-signers in the comments below.

WHAT TO SIGN

We accept a lot of choices on what nosotros write when signing a impress. The most obvious thing would be your signature or autograph (or whatever you lot want to telephone call information technology). This is the part that actually matters — information technology'south your "seal of approving" and but you tin can put it on the impress. Some people similar to sign their existent name, while others similar to sign a pseudonym. Some similar to sign in cursive, some with a crazy autograph, and others in plain text. How yous do information technology is completely up to y'all — there's no rule saying you must practise it a certain way. I'd only advise that you keep it consequent every bit much equally yous can.

Some other mutual item found on a signed print might be the title of the print and the yr it was taken. This goes across the "seal of approval" and is more of an artistic preference. A title is ofttimes important to the meaning of the print and if you feel your titles are important, by all means, put it on the print! Twelvemonth of capture is another preference item — usually but calculation a piffling extra context to the photo.

If yous decide to offer your print as a limited edition or an otherwise limited print, an edition number is something y'all'll want to prove. If you accept a predetermined number of prints that will be (or accept been) produced, information technology's a good thought to prove the number of the impress in relation to the limit number — and so "v of twoscore" or "5/40" might be a feasible option. Some artists also have open editions (so no limit), but still like to number their prints. This is totally okay too! Just be consistent.

At that place are other things you could include in the signed portion of the print, but information technology'due south unremarkably best to keep them to a minimum to avert clutter. But as the artist, you lot can decide what is important to you. Things like date of printing, location, copyright symbols, photographic camera used, etc. I don't know… any y'all want to include on the print. Like I said, it's totally upward to you.

I choose to sign the title of the photo, the appointment taken, the print number and limit number, and my name. I'll get into where I put those things in the next section.

HOW AND WHERE TO SIGN

The most mutual question that new artists have about signing prints is probably where to sign the darn affair. I think there's some kind of misconception that there exists a book of rules and regulations for fine art photos. At that place's not (every bit far as I know). Like the content that you sign to the print, the location of signature is totally upward to the artist. Many people have stiff opinions on this topic, simply just call up that the signature is part of the art and you tin exercise what you want — y'all're the creative person.

If I could give one piece of advice almost signing prints, information technology would be this: PRACTICE! Utilise the actual pen or marker on the actual paper (but not the final print) and pretend like you're in 6th course once again. Observe your signature and write it over and over and over and once more. I go through this ritual before I sign each print considering I don't want to mess upward the real one.

Back to the topic at paw… the near popular place to sign a photographic print will exist below the print, exterior of the actual print border. This is usually washed on a department of white space and is clearly visible to the viewer. From what I've seen, this is a traditional method used past many artists. You'll find many "quondam school" photographers condemning the human action of signing directly on the impress, and this is the method that they'll likely suggest. The only thing well-nigh this method is that y'all have to allot actress infinite below the print — no 1/eight″ borders will allow you to sign the print this way. I'd say that an extra iii/four″ to i″ of space should exist sufficient (depending on your personal mode of signing). Here'southward an example of this method — click to see the signed portion larger. Impress by Joseph Szymanski

Another feasible method of signing is direct on the print. This allows you to frame or mat the print right over the border of the photograph without requiring extra white space or border. Like I said, some artists condemn this method, but that's their own opinion. The upside to this method is that you lot don't take to apply a border if you don't want one. The downside is that the signature is typically much more difficult to see. Black ink volition work well on light prints, silver or white ink will work well on dark prints, just midtone prints and busy scenes will hibernate a signature quite well. Here's an example of this method — click to run across the signed portion larger. Impress past Bryan Villarin

The previous two options involve signing straight on the print textile. Notwithstanding another feasible option is to sign on the mat if you lot happen to be producing a impress with a mat included. This method allows you to sign below the impress without producing and displaying an actress edge or extra white infinite. Information technology can be more than aesthetically pleasing, but in that location are a few things to keep in listen if going this road. The mat is generally non a permanent addition to the print, and then your signature may not mean much if the two become separated. Also, permanent adhesion of the mat to the print or the print to a mount will likely lower the value of the print in the optics of a collector, so exist careful how you exercise these things. Here'due south an example of this method — click to see the signed portion larger. Print by Tom Webb

One final method that I've come across for signing prints is less visible. Writing on the back offers a manner to be less obtrusive to the final brandish while also stating your approval of the print. Some collectors might like to accept make clean prints with no visible signatures, merely I'm guessing that virtually would similar to have it visible as office of the display (I know I do). Then again, not all collectors or exhibits will want or allow a signature on the front of the print, so this may be your simply pick for these situations.

SOME THOUGHTS ON "EDITIONS" AND "LIMITS"

We've talked before on the topic of "limited editions" hither on the blog (and we fifty-fifty had a follow-upwardly article), and then I won't get as well much into this discussion. This terminology is defined by constabulary, so simply be aware of that if yous decide to offer your prints equally limited edition.

photo credit: *MarS

If you lot don't want to get tangled up in the legal stuff, you might think near offer your prints equally "limited signed prints" rather than a truthful "edition". This method seems to suit digital photography better because of the technology associated with making a print. In my case, I like to offering these limited signed prints which I can produce one at a time as needed. Whatever limit I choose for a item impress will be the maximum number of signatures that paradigm tin accept — and so if it says "37 of l", that implies only 50 prints of this paradigm will have a signature on them, and this is the 37th ane produced.

An fifty-fifty simpler solution is to offering "open editions" where in that location is no limit to the number of prints, signed or not. This method doesn't produce the same scarcity that a express prepare does, but at least it shows that the artist produced the paradigm and they approve of its quality.

"Unsigned prints" have their place too, only one concept of fine art (photography or otherwise) is that the piece of work has been produced by the artist and the artist approves of the last output. Without that signature, you tin can't lay claim to these statements. I also offering unsigned prints of my piece of work, simply for decoration and enjoyment rather than collection or investment. I know this is also a heated topic among artists — practice unsigned reproductions cheapen the signed works? I tend to retrieve not (and I'd use Ansel Adam'south photos equally an case), but others will strongly disagree on this signal. To each their own!

NOW You lot Go

I've covered quite a chip of stuff here, some of it probably long-winded and unnecessary. If yous're still questioning any of the topics on this subject, practise ask! Besides, if I skipped something that y'all wanted to know well-nigh, bring it up in the comments.

In addition to questions, I'd like to hear from the rest of yous "impress signers" how you practice information technology. What method do yous use? What blazon of pen or mark? Where do you sign? How exercise yous sign? What do you sign? You get the idea… allow's hear information technology.

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Source: https://epicedits.com/2009/06/10/making-fine-art-prints-signing/