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Main  Art Talk  Where should the artist sign their work
	Topic: Where should the artist sign their work
?	posted 1/24/2005 4:03:00 PM by Don E-mail: gallerieframing@telluridecolorado.net	[ Post your reply ]
	I think the most often questions I'm asked as a framer ( aside from how much will that cost ) is by artist / photographer. "Where should I sign my art". Should it be on the mat, or the photo (if on the mat, what if the customer decides to change the mat at a later date?). Should it be in pencil, ink or permanent marker (i.e sharpie). Should the date be, the date of the photo ot the date of the print? Finally, what are the guidelines for numbering limited editions. Is there a standard created for these questions and if so by whom and where can I get a copy to pass on to my artist customers. Thanks, Don Whitney Gallerie Framing Telluride, Co
!	posted 3/15/2007 9:30:00 PM by ML E-mail: uniquestuff@hotmail.com
	I always had them sign both when I had something to be signed. Then I would go back and replace the artwork/picture with a 2nd piece the I had 2 signed pieces.
!	posted 4/14/2005 3:27:00 AM by Errol Brimacombe E-mail: canwestart@shaw.ca
	Hi Don.. I have been in the art and framing business for over 30 years, with ongoing activities accociated with art appraisals, restoration, conservation, etc., so, although Canadian, I believe I can offer some fairly accurate advice. 1.) sign on the photo or art work, but make sure the signature isn't too close to the ege of the image so as to interfere with matting or frame dados. 2.)Never sign anything with ball point pen, or gel pen, or using any "normal" inks. For photos, a permanent pen such as Pigma, which has been approved by the Library of Congress for permanence, is suggested. There are other acceptable pens, too, but that is one that comes to mind. It is available in many colours.Check the barrell for specs. Traditionally limited edition prints were signed with pencil mainly because the signatures couldn't easily be "forged". It is easier to re-print ink than pencil, and originality is thus easier to determine. The top number of a limited edition is the print number, and the bottom number is the total number in the edition. A/P means artist's proof. Sometimes these are numbered, too, and are considered by some to be more valuable than the actual run of prints. Usually there are few artist's proofs compared to the number in the edition. Depending on the nature of the item, common ratios are approximately as follows: 50 A/P's + 395-500 prints (photo-mechanical) 100 A/P's + 1000+ prints (photo-mechanical) 10 A/P's + 100 prints (serigraph) With photo-mechanical (offset lithos), there is no limit of the number which can be produced. Consequently, the value of the print is often relative to the commonality of the artist's name. The true value of an offset print on good quality rag paper is really in the $20.00 range, but the size of the edition and the artist's fame can often result in "values" ranging in the thousands. My comment on this is "Hmmmmmmm". Silk screen reproductions (serigraphs), and other hand-produced items are sheep of w whole different colour. Each item is really slightly different from any other, so the term A/P really has some meaning. A/P was the term applied to "test runs" until the artist "got it right". So actually, A/P's are usually inferior to the actual prints. The "value" in A/P's from an offset printer really can only be attributed to their more limited number...which, to me, is highly suspect. This brings to mind another question. What is the "limit" to "limited". The greater the number of offset prints done at any one time, the less per unit cost of production. Limited editions in the 395 range are actually worth more than those in the thousands, as the per unit cost of production is greater. Much of the expense is in the color separation process. One more thought- Also, never sign art with a felt marker, permanent or otherwise. Some clients have taken to putting titles on the back of canvasses with felt pen. This will likely eventually bleed through.
!	posted 2/21/2005 3:07:00 AM by elsa
	Well Don I got several replies from my art friends-They all concure that the date the print was taken is the No. 1 date to note-however if the photo is worked with new technology that should also be noted. Oh and it should be the complete date-month, day, year! Happy Framing Elsa
!	posted 2/17/2005 3:02:00 AM by elsa
	well I don't know if there is a standard or not. I know as a framer, my advice would be not to sign on the mat--if it gets damaged or a owner wants to change the mat there goes the signature. As a designer I hate when they sign in the "white" area around the work, or very close to the edge --it makes designing a challange. As for #'d works yes there is a standard the first # is the # of the print the second # is how many prints were made. Example 92/250-- This print is #92 printed out of 250. As for what they should sign with-I don't know that it matters, at first I thought pencil probably wouldn't be the best because it dosn't seem as permanent--however I have framed very old art that was signed in pencil and it was still ledgible. Dating items is also an interesting question, one I hadn't thought about. hummm...will the exact date matter in a hundred years? how about just the year, or year and month--beats me. I belong to an art forum and will put your question there and see what the results are. Will let you know Elsa