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Thread: Signing prints

  1. #31

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    I always use a floating matte, which leaves a blank rebate around the image. I sign my name, the year the image was taken and the copyright symbol on the lower right hand corner of the print margin. I use a very fine pen and India ink. I sign the print because, mattes often yellow. Besides, the print is the artwork, not the matte.
    Morry Katz - Lethbridge, Canada

  2. #32
    bill spears's Avatar
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    I sign the print because, mattes often yellow. Besides, the print is the artwork, not the matte.
    Morry Katz - Lethbridge, Canada[/QUOTE]

    The matt shouldn't yellow if using quality conservation or cotton rag board.

  3. #33
    RalphLambrecht's Avatar
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    As Bill says, if your mount-board yellows, where to put the signature is not your biggest issue. Quality overmats and mount-boards do not yellow. If they do, they will eventually attack the print. Toning the print will protect them longer, but I suggest to get to the root cause and change the matting material.
    Regards

    Ralph W. Lambrecht
    www.darkroomagic.comrorrlambrec@ymail.com[/URL]
    www.waybeyondmonochrome.com

  4. #34

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    Some really good responses here cheers

  5. #35
    Greg Davis's Avatar
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    If you look at the work of major artists currently working you will see that most of them sign the back of the print, not the front. If the print is permanently mounted, they sign the back of the mount. Some, like Sally Mann, Eliot Porter, and Alec Soth use a stamp with the studio name and address, then hand write the edition number and signature. Porter went the lengths of devising a template to place the stamp in a specific place to identify fraudulent imitations.
    www.gregorytdavis.com

    Did millions of people suddenly disappear? This may have an answer.

    "No one knows that day or hour, not even the angels in heaven, nor the Son, but only the Father." -Matthew 24:36

  6. #36

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    My style is generally to let the print speak for itself, this being very much the principle behind well-crafted Ilfochrome (Superchrome) prints, so framed chromes are never signed on the front mat (but information on image, etc and signature appears on the rear of the completed frame-up).

    If the client does not want museum-grade conservation framing (9-ply cotton rag mat, UV-block glass and vac. sealing) but just the raw Ilfo' print, I sign my name and edition in the lower edge black border in fine-point gold permanent pen, lower right of the print (attempting to rub this off will be highly conspicuous as 'chromes easily show buffing or rubbing). That's it. Nothing else. Finished. In my case, for that reason, the borders on all chromes must be equidistant and straight (pro labs will take care of this small but critical point in terms of the print possibly being plate-mounted with borders, rather than framed with borders removed).

  7. #37
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    Thought of this thread yesterday afternoon. I went to a local juried art show, themed on "Scenes of the Schuylkill River Heritage Area," open to paintings and photographs. There were two photos by the same individual, framed with a fairly narrow single mat. She had written the title -- which was long -- plus her name in black ink, all in scrawly script about 7 or 8 mm high, not block letters -- across the lower part of the mat, just millimeters from the opening. Distracting as all get-out, don't even remember what the actual subjects were!

    DaveT

  8. #38
    Vaughn's Avatar
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    Dave, one of the rare times I have seen writing the title, etc on the print and/or mat actually work was Mark Klett's prints. Sort of tied in with the "rebate" of the Polaroid Type 55 he used...and historically with the identification scratched onto glass plate negatives of the frontier photographers. But most of the time, it can be very distracting.

    Vaughn
    At least with LF landscape, a bad day of photography can still be a good day of exercise.

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