Printing off of the Chromira machine from my color transparencies, Bill Nordstrom (Laser Light Photographics) prepares my photos on oversized paper generally with one inch borders. I normally sign, number, and title my work on the mat boards for Art Shows. If someone, or a Gallery wants it signed in a different location I will accomodate them. I normally hinge mount my photos, however, Laser Light Photographics offers a cold dry mount method which I offer as an alternative.
I sign the front
I sign on the mat on the front -- just under the lower right corner of the photo. I use a #3 pencil, very lightly pressed. The signature is small -- it can almost be over-looked.
I hinge-mount my carbon and pt/pd prints. The back of the print is also signed and the title, date, copyright, and edition info placed there. This info is also put on the back of the matboard. If something should happen to the mat board, all the info (and signature) is there if it needs to be re-washed and/or re-matted.
If I sign at all, it's on the front, in the white border.
Every other type of art print is signed in this way; why should photography be different?
-- Ole Tjugen, Luddite Elitist
i sign the back and i sign the window mat on one side, and the date on the other. all3 are done in pencil --- the print is signed, just in case the mat needs to be changed-out and i am MIA ...
Here, some galleries like to display work with the matboard signed and titled by the artist and a name/title plate is displayed under or next to the framed print together with a price.
Check with the gallery first how they manage their exhibitions.
For your own private work, there is no standard, do what suits your style.
I personally sign the front matboard and use a stamp on the back with further details.
Kind regards, Nicole
Last edited by Nicole; 01-02-2007 at 09:05 AM. Click to view previous post history.
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I put the title on the mat, on the left below the window. The edition number gets centered on the mat below the window, and my signature goes on the right. The print itself gets signed, dated, edition #, and copyright info on the reverse. All in pencil.
I sign in pencil only. If the print is matt/semi-matt and accepts pencil I generally sign on the print border below the image.
If the print is a gloss surface (will not accept pencil) and hinge or corner (my preference) mounted I sign and detail on the back of the print.
In any case I sign the front of the window matt below the image.
If it is dry mounted I sign on the front of the back board below the print and behind the window matt, as I sign on the front of the window matt - so the print or dry mounted print+board alaways bears a signature independantly to the window matt (which could become separated).
Many who dry mount trim the print paper to the edge of the image and leave a border of back board visible inside the window matt and sign here. I prefer the border to be of the image-bearing paper, hence my approach above. It's a matter of personal preference, that's all.
Personally I don't like the idea of signing gloss prints with ink, nor rubbing off a patch of emulsion coating on the border, so that it will accept pencil, although I know this is popular with some gloss paper users.
Sign and date in pencil along the white border of the print.
I sign all of my prints that will be exhibited and or sold but not in pencil. My experience indicates that pencil fades over time. I do think that signing or not signing is a personal choice however in speaking with viewers and buyers of my work it means more to them signed.
Hinge mat. Faint pencil signature on print itself, lower right front. That way the buyer can mat around it (to show signature) or over it (to conceal.) Either way my name is on it. Sequence number at lower left front.