David asked recently about signatures: "Would you care to comment on placement of a signature/choosing a color for the signature." David, I would and I will. My opinion is to choose an out of the way location (a bottom corner is traditional but not necessary) and a color that doesn't overwhelm the painting. I generally use gray - something with enough contrast to the color it will go on - usually dark because that seems to draw less attention. Someone told me once they'd found a painting they just loved but didn't buy it because the signature was too "loud." That convinced me.
Don't you get sick of eating all this fruit? ;-)
ReplyDeleteHi Carol, Love your paintings.
ReplyDeleteI usually sign my paintings only on the back.
Best Wishes
HI - any thoughts on dating the painting too? Someone told me I should and I read something someplace else suggesting it too - not convinced all that information along w/signature belongs on the front or not?
ReplyDeleteYup... there's a cubistic retro-looking painting ( a harbor scene) hanging at the marina's cafe. I really like it's naive quality. BUT it's visually burdened by a big loopey WHITE signature on dark blue. I've thought of buying it and painting out the signature....
ReplyDeleteWe should all develop a confident signature. Your joined initials are discreet but are more than a squiggle because they are bracketed by two dashes.
My signature has first, middle and last names - all with the same amount of letters- and I stack them in a cube. But if I think it's too complicated (on a small of very simple composition) I shorten it to my initials or last name. Sometimes I paint it or use pencil; but I never use ball-point pen.
'Nuf of that. I like the reflected blue light bouncing onto the pears. If you cut a pear (or apple) across its stem you get a little star; free gift with purchase!
What a keen sense of composition you have Carol. My eyes were led all over the canvas.
ReplyDeleteAnd thank you David and Carol for your thoughts on signatures. I've wiped/sanded the board clean because my initials were too distracting. I agree, less is more.
Simply amazing. You're the best!
ReplyDeleteSolid! Enjoy how those few broad- dashed gray strokes between the two cut pear halves really help reinforce the ambiguity between illusory space and picture surface.
ReplyDeleteGood show!
I agree with the person who mentioned the "loud" signature.
ReplyDeleteI am pleased to have signatures on the front of work I purchase, but it should be there when looked for, rather than being the second or third (or even fifth) thing I see when I look at the work.
I don't buy it for the signature..... :-)
For me, the one in Halved to Make a Pear is perfect. There, but not *too* there.......