Signing the portrait
 

I have during my months on this forum often read questions abuot the signing of the portraits. These questions are most of the time asked by the pros to us wannabe-portrait-artists. This has made me start wondering more about signing and signatures, if not to say worrying about it.

I also thought that it would be easier to do with a brush. And that it maybe could be good not to give away if I am male or female. When asking friends and family I got ~50/50 on keep/change. My generation said change and my parents generation said keep. Since portrait painting is looked at as pretty low status and silly it might be better not to sign as a happy amateur.

Am I making sense?

Hi Hanna,

I am more likely to belong to your parent's generation. Happy amateur and female, hmmm, you qualify for two of those.

I'd go with the initials rather than your first name. The initials are more professional and will identify you without telling the world who you are (if that makes sense).

I used to sign with my first and last names until I realised that I was more comfortable just using initial and maiden name and married name hypenated. I had to use both surnames as there are at last count 15 females with my married name, in Cairns. Port is very rare however.

I have a pastel portrait in my collection done by a man and he signs his full name and the date as well as the subject's name and it all takes up a substantial part of one side of the background. He used similar tones as the background and unless you get close up you don't even notice it and it becomes part of the overall design.

So maybe we females need to be more out there and confident of our abilities. :)

Personally I sign my full first and last name, and two digit year. I try and do it unobtrusively in position and tone. If I think enough of the work to sign it I don't see any reason to have people guess as to who I am.

Year?
 

I too would use the whole name. You can date and add all kinds of info on the back. I do and suggest you do, too. Not only will people over 100 years from now appreciate it, but 10 years from now you may be glad you did.

When you date a picture, it can cause problems, with portraits it can serve as a dating device for the picture and the model. Some models (clients) would prefer that were not the case.

Hi Hanna,

You should definitely use your last name, and probably at least your first initial. I think that there's an amateur bias and it's harder to have your work taken seriously with a first name only. Larsson is probably not an uncommon name in your area, so I don't see why you shouldn't use your whole name.

In pastels, I sign my name just as I would sign a letter or anything else. I'd do the same thing in oil if I could figure out how; instead, I just write "SAPER" in block letters. For all my paintings I also include a copyright sign and the the date, last two years.

At least in the United States, copyrights are best protected when the name, date and copyright sign are placed visibly. That's not to say you can't protect your copyright without these things, but they would all weigh in your favor.

As to concealing your identity as a female, in theory one would think that it would be possible for female painters to earn as much as comparably skilled males (if anyone wants to discuss this, it's a better topic for the Cafe), but the reality of portrait painting is that you have to meet your clients, so it doesn't really make any sense. Unless you paint for people who will never meet you, even landscape painters et al, for the most part, eventually want shows and exhibits at which they can be present.

I have an androgynous first name, so I tend not to think about it. However I have, a number of times, had people act surprised, and have been told: "Oh. You paint like a man." I still don't know what to make of that.

However (a long and circuitous route getting to the point here), I think you should choose a signature that looks good, that is not contrived, that feels natural for you to use, and that is placed with careful consideration.

For signatures, size, location and color matter. They will become part of the design of your painting, whether you want them to or not.

Hanna, I would cast my vote with those who suggest that you use both first and last names. The lower of the two signatures seems a bit self-conscious and contrived, to me, and may not suit you should you continue painting into middle age and later. I too sign my name as I sign my signature on documents. I want it clear that it's my work, and not that of someone who may share my last or first name.

For signing in oils I use two small crafters' brushes with short handles. Where possible I write the name first in pencil, but if the background is too dark for that to work I just go freehand. One brush is loaded with whichever color I'm using for the letters and the other is loaded with the background color, and I switch between them as needed to produce a fairly clear signature. I also include the full four-character year along with a copyright symbol.

Thank you for your input. I actually agree with you 100% about signing with both first- and surname. I would give that advise to everyone else. If I had any of your names I would certenly do that too. But I cannot write my name beautifully, believe me I have tried...

Already when I was a little girl I was asked "How can you, who is so good at drawing, write so ugly?" And it

Hanna, haven't looked at the link yet, but I've always loved Carl Larsson's work and have a book about a farm with his paintings. Personally I think Hanna Larsson is prettier than Hanna Hedman. But of course it's whatever makes you most comfortable. My maiden name is Pastor and I far prefer that, but I have some name recognition in the area as Ficcaglia so I've retained that for my paintings as well. Something else to think about....

I did a search for this exact subject as it has been something that I have fretted over for a long time.Gladly I found it here. I too have a great problem deciding for myself.So, Hanna, let us know how you decide.

At the present and for awhile now I have signed only Patt. My name is Patricia. I added the extra t. I have heard people pronounce it as if it is Patt-y. Eeeeek. My maiden name if Barker but my married name is Legg. As suggested from this forum, at least a letter and last name -well, say it " P. A. Legg" Doesn't go at all. and has suggestions too. P. Legg - not!!
I have tried doing my initails but they come out as P A L - pal. Not good either.

I can relate as to changing my name. I love the flow of Patricia but so common.Then I vision people seeing my paintings in the future and mouthing "Patt" who??? Or Patricia who. I also have thought of changing the spelling as in Patrizia or Tri-zia. Is that legal? Book writers have had pen names before and even 2 different ones. And, Hanna, I like too that the viewer does not know if the name is male or female. What is that all about-beats me. Just like them to wonder.

I have a friend and fellow artist whose name is Romney Shelton ?. I won't give her last name but flows froms the lips. Love it.Sounds like a writer and she signs that way.

I am happy to hear I am not alone in this decision. I am also leary of changing locally as they know who I am here but then why not?? A new artist in town? Maybe? Help!!! :bewildere

A hallmark of bad motel paintings is a giant signature. I think it is wise to sign pictures unobtrusively, as anyone who really likes the painting will hunt for the signature until he or she finds it. And we don't want whoever doesn't like it to know we did it, do we?

Virgil Elliott

Balance
 

I normally use mine as the last chance to balance my design and make it as large as the design needs. Just one more thing to change about my methods - there is so much to learn about this art thing.

Legibility?
 

I have seen paintings with a scribble to impeccably typeset print signatures. Which is best? I have one signature, I call it my "Autograph". This is quick and effortless when signing checks or pastels. Then there's the legible one that I do for paintings and works that require people to actually be able to read the name. Any preferences?

I was also told once that if your name looks like a man's it would sell better. I once considered changing my signature on a few pieces to my middle and maiden name to read "Rene Fauteaux" to see if that made any difference in appeal.

I know an artist who signs her paintings with a "pen name" because she thought her name to be to blah.

I sign with a brush, a legible, written "Baumgaertner" and the full four digit date. I have seen paintings with an '03, and I didn't know if that is 1903, or 1803, or what. I sign my painting with the expectation that they will be around in a hundred years.

You do not need to put the copyright sign on the paining. It is automatically copyrighted when it is signed, and I think the sign looks commercial, not appropriate for a fine art piece.

For direction on how to sign your name, I look towards the established artists for direction. Does Daniel Green sign his portraits "Dan"? Does John Sanden sign his "J. H. S., '02" Does Raymond Kinstler sign his with block letters? Your signature denotes how much you respect your work. It is very telling that Van Gogh signed his paintings "Vincent." In order to be taken seriously as artists, we must first take ourselves seriously as artists. We need a serious signature. An adult, dignified, classic, serious signature.

Early on I took a sable brush, ink and large sheet of white poster board and wrote my last name, Baumgaertner, over 75 times. (I used "Baumgaertner" only because it is a long name, and I personally don't like initials in a signature. I have no problem with signing with a female first name. I've never lost a commission or been paid less because I was a woman....). I then cut out the individual signatures and eliminated the bad ones. I ended up with 20 that looked pretty good, turned them upside down and picked out the best, then turned those sideways until I had the one, balanced signature. I them copied that signature with a brush until I could do it correctly and effortlessly. I've been using that signature on all of my art work for 20 years.

Peggy

Hi Peggy,

Do you usually sign your work in the same location or do you make your signature part of the painting?

I usually sign my name in the bottom left hand corner, although I have occasionally signed it upper right, or lower right. Sometimes it's darker on a lighter background, or lighter on a darker background, usually in gold (gold ochre). On "Clare". my signature is signed in red. As Tim said, earlier, I use it to balance the painting.

Peggy

It's not published yet and there's no description, but it sounds like this book will be totally about artist's signatures:

Signs of the Artist: Signatures and Self-Expression in American Paintings

Amazing
 

Isn't that amazing? The information that's out there these days!

Eureka!?
 

It is so interesting to hear what you consider when signing your work. All of your thoughts sound smart and I guess the main theme is to really decide what you want to say with your signature before signing. It is clear that it will be part of the painting's design and final appearence so it is important.

As for my own signature I have been trying out different ways and styles these past weeks and even different names. I considered forcing my boyfriend to marry me to get his last name. It is not spectacular at all but a little more fun to write, Andersson. But I didn

Hanna,

I usually use Roman numerals for the year. Might be interesting...:)

Josef, that might be a good option. How do you write 2003?

MMIII
M=1000

The STAMP!?
 

O.K. Here's a new one that just floored me! At a recent art show I went to two artist's booths that had exactly the same signature, in exactly the same size on each of their paintings. It was done with oil paint instead of ink on a rubber stamp of their signature, the copyright symbol and the year the piece was completed. What do you all think of that?

Hanna, that's a lovely signature and I can't even tell that it's missing an "s." I think it'll look wonderful on your paintings. And personally I like Larsson better than Andersson, possibly because it seems more exotic to me in the U.S., Anderson being a more common name.

:bewildere I am still looking for a little feedback about my signature (see page 1 of this thread). I agree with others that I should be proud to sign my work and I am. It is not a matter of pride; I think I simply would like my signature to look artsy, too and can't seem to find the right feel. I can sign it with a pen on paper and love it, but when I brush it on with paint I no longer like it. I love the cursive or handwriting signature and must print it on canvas - I think that is it, too.

Again, Patt Legg: P A Legg, P Legg (if spelled too closely will read plegg, PAL, Patricia A. Legg, just PATT (as I do now print it).

I now just sign Patt but want to do something different, as I began to think of my grandchildren saying, "Patt WHO?"

Give me some ideas here please. :exclamati

I prefer P.A.Legg. You have to make sure the periods are clear and legible.

Interesting how some of us struggle with the easiest part of being an artist. After having tons of trouble signing a rather long name, 13 letters in oil, I have been using a fine tip pen that is specially formulated for autographs on sport balls. It allows for full writing control, doesn't smudge and so far has not faded either. I don't date my work, but on some pieces the wooden support on the back will include a poem or a thought that led to the creation of the work. This ensures that people don't make wrong assumptions about what my objectives were.

Patt, I would use Patricia Legg. It sounds nice and people should recognize your work and it's creator by the full name.

I think Patricia is a beautiful name, I would sign Patricia Legg. It sounds good and seems to be fairly easy to write beautifully (except from the L...) When you sign on an oil painting you can scrape in your signature with something sharp while the paint is still wet. Then you can write it the same way as you do with a pen.

My rubber stamp signature
 

Actually, I use my rubber stamp a lot. I often forget to sign a painting and I don't like my signature to "show" much as it is not an important part of the design. I consider every brushstroke that I apply to my canvas to be my "real" signature.

Here is an example of my stamped name below on a 48" x 36" painting. It is less than 1" wide and I greatly enhanced the first signature in Photoshop so it would be more visable. The second example is how it actually appears. You have to look closely to see it as the signature is nearly the same value as the background.

I do not like to put the year on the front of a painting. Sometimes if I have something to say for posterity, I'll write on the back of the stretcher bar in pencil.

I think Karin has chosen the wisest way to add a signature. I've seen some paintings that have such large, ornate signatures, done in vivid colors, that it actually disfigures the painting.

Karin, I LOVE IT!!!
 

I think this would solve much of my signature paranoias on an oil painting! I have no problem signing my pastels since I'm perfectly comfortable signing with pencil or pastels, but for some reason, I choke when signing with a brush. Thank you for your input and sharing your examples.

Thank you all for you input about my signature and Hanna your compliment of Patricia. I do like that and actually the (L) you spoke of on Legg is one of the letters I love to do with pen or pencil but with brush I find them all difficult.

I like your idea Karin of a stamp. That way it is aways the same. Did you have a stamp made? I assume you did and it would be nice to have one with your actual signature like those used in the corporate would when they stamp their name.

I will consider this all