How to sign (and NOT sign) an artwork

One of the most common mistakes that I've seen across the decades, mostly from beginning artists, but often also from experienced artists with limited exhibition exposure, is artwork which is defaced or ruined by an offending signature.

I most clarify: no one will ever complain about the size or placement of a Picasso signature on a real Picasso (lots of fakes out there).  But for most of us, an improperly placed signature, either location and or size, will sometimes deliver a negative impression upon a gallerist or a collector.

The impression delivered is "amateur."

A signature is important, and artists should and must always sign their artwork, to both document the provenance and identity of the work, for both contemporary and future generations, but also because in today's art world, it is expected -- both by gallerists and collectors.

Let's bring Picasso back into the discussion: a unsigned Picasso, even with a well-documented provenance, is generally worth nearly half of what a signed Picasso brings at auction.  Nothing exemplifies the power of an artistic signature like the commodity aspect of art.

The mandate then to artists is: sign your damn work! Usually... usually, collectors do not care where the work is signed, and "reticent" artists always have the option to sign the artwork on the back (or verso is the art lingo of the secondary art market).

Here are some visual examples -- see the gorgeous abstract that I just painted on a very large canvas that I recycled from dumpster diving at American University - it had a series of yellow dots on an otherwise blank, beautiful 40x60, nicely stretched canvas.

The curious coincidence of being surrounded by yellow
2022 abstract painting by F. Lennox Campello 40x60 inches

And here it is (above) after I sold it! It is signed - on the back, so that the essence of the abstraction remains undisturbed.

Sometimes, rarely but it does happen, a collector may request that you sign the abstract work on the front (it has happened)... in that case, I recommend using a paint that allows the signature to still be seen (if looking for it), but also somewhat blends in. See below...

But the below samples is what I see most often when this common mistake is made - gigantic signatures that deface the work.

I also see signatures on the oddest of locations on the work itself. See below -- as a rule, signatures on artwork (representational work, prints, drawings, etc., should go on the lower right margin. 

But note below, how the large signature, even at the right location, still impacts on the work.

Here is another horrible example of a work-ruining signature.

And this one as well...

In summary -- generally speaking:

• DO NOT sign any artwork with LARGE signatures - when a signature is executed, modulate the signature size so that it can be read, but does not disturb the work
• Sign abstract work on the back
• For representational work, drawings, prints, etc., sign in the lower right margin; do not sign in the artwork compositional surface
• Date the work (optional)

You are welcome!

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