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Top Eleven Tips on How To Sign Your Art

Top Eleven Tips on How To Sign Your Art

Having signed many pieces of art in various mediums and having a strong design sense I feel quite knowledgeable on this subject.

  1. Is it necessary to sign your artwork?  The answer is YES.  Whether you decide to sign the front or the back you should always sign your work.  Several contemporary artist sign the back of their paintings as their signature on the front would interfere with the imagery and integrity of the painting.  If you look at Mark Rothko, Bridget Riley, Ellsworth Kelly, and the later works of Jack Bush, Kenneth Noland, Piet Mondrian you will find their signatures on the back of their paintings.
    Some artists may ask the questions, “wouldn’t be very difficult to market and brand yourself if you don’t have a signature on the front of your art. How will your fans know who you are? How will they be able to look you up?” The nature of the painting should dictate where to sign.
  2. I suggest you refrain from using your customary signature. This not only applies to your artwork but also your website. Identity fraud is very enticing to some people. Cyber thief is a reality.
  3. Let your signature be readable. Let’s face it you want fans and collectors to know who you are. Your signature should be clear and recognizable.
  4. Do you use your maiden name, married name, full name, Initials, logo or surname only? This becomes very personal. If you have a long name you may prefer to shorten it by using only your initials, surname or your first name. Vincent Van Gogh signed his name Vincent. Rembrandt signed his artwork using his first name. Some of his earlier works were signed with an initial “R” and later he used his Monograph “RH” and starting in 1629 he used “RHL”. Leonardo da Vinci (Leonardo di ser Piero da Vinci) signed his works “Leonardo” or “lo, Leonardo” ( “I, Leonardo”). Pablo Picasso signed his name using his surname. If you have been painting before you got married and your fans know you by your maiden name I would suggest keeping consistent so you don’t have to re-market yourself. I would suggest that if you sign the front using only your initials, first name or surname than be sure to sign the back of the artwork using your full name and be sure it is legible.
  5. Be consistent so you become recognizable. It is probably best not to follow into the footsteps of Rembrandt (see tip #4). I never thought I would ever say that. Chuckle, chuckle.
  6. Where should I place the title of my painting?   You may want to add the title on the back.
  7. Where do you place your signature? Generally, artists sign their work on the lower right hand side and sometimes on the bottom left depending on the design. Keep your signature away from the sides and bottom edges. You should be considering how the art is going to be framed so that the signature doesn’t get cropped off by the framing.
  8. What colour do I use to sign my painting? I have seen too many paintings signed using black when there was no black paint in the painting. If you do this, the viewer looks at your signature first as it appears very distracting and awkward. The eye looks for repetition.  It will look for the colour black elsewhere in the painting and it won’t be there. It is best to use a colour that has been used in the painting so it harmonizes. If your artwork is a graphite drawing than I suggest signing your work with graphite staying consistent with the your chosen medium.
  9. How large or small should your signature be? This is a stuff question as some will say the size of your signature should be in proportion to the size of the artwork.  Check out artist Robert Ryman, Untitled, 1958; casein, colored pencil, and charcoal on paper, 9 3/8 × 9 3/8 inches, Whitney Museum of American Art, and you will find that his signature is large and part of his composition.  I like my signature to be noticeable but not so large that I’m saying “Hello here I am”. I don’t want my signature so small that it gets lost so I try to find a happy and reasonable balance.
  10. What tool should you use to sign your artwork. When I sign a pencil drawing I use a pencil. If my art is an ink drawing than I sign using the same tool i.e. a pen. If I’m signing a painting than I use a brush and in my case acrylic paint. I generally take a piece of vine charcoal and print my name so that I can check out my spacing. I don’t like surprises when it comes to my signature. I don’t seem to be able to write my name using a brush and acrylic paint without it looking messy and illegible.
  11. Should you put a date with your signature? It’s a personal choice. You should record the date you created your painting.  You may want to create a catalogue should you ever have a gallery retrospective.  In the future, you may want to publish a book of your artwork, therefore, having a record of your work would be advantageous.  It is always better safe than sorry.  I keep a record of the date, title, medium and size of my all my artwork. There is a debate that if you date the front of your painting it limits its potential to sell. Some say that if a painting is a couple of years old and you are trying to sell it potential buyers may wonder why it hasn’t sold. There is no right or wrong answer here. If you are in the habit of dating your work place the date on the back of the painting. Dating your work records your artistic development.  It gives curators or art historians a guide to it’s historical relevance.

Hope my top eleven tips on how to sign your art has answered most of your questions and has given you more confidence to sign your name.

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Top Best Tips for Hanging Art

Top Best Tips for Hanging Art

Have you ever gone to a friend’s house and noticed that the artwork was hung too high?  It can be a little uncomfortable and a little comical at the same time.  In my friend’s home the art was hung close to the ceiling.  I refrained from giving unsolicited advice. Sometimes the artwork is not only hung too high but it is too small such that it is drowning in all the wall space.  In the image below (Figure 1) the gallery wall display is hung too high above the sofa.

 

(Figure 1)

(Figure 1)

 

(Figure 2)

(Figure 2)

I am an artist with a lot of practice hanging art. I am also detailed orientated thus wanting to hang art correctly and tastefully. I’m the type that asks a lot of questions so over the years when I have been in doubt I have asked the experts.  This quality comes in handy.  This post will focus on choosing the best location and tips for measuring.  For choosing the right hardware I direct you to your local hardware store.  Follow my top best tips for hanging art like a pro and remember to have FUN!

  • Before hanging your art choose a location that is away from direct light to prevent colours fading. Be sure to find a location away from humidity.
  • If your art is heavy use a wall stud finder. Stud finders locate nails inside your wall. I have a small cheap one that works fine. If you don’t have a wall stud where you need it than there are several hardware options. Before purchasing hardware you will need to know if you have plaster walls, drywall, wood panels or masonry walls like concrete brick, concrete block or cement (you get the picture – pun intended). Masonry walls require drilling a hole with the appropriate drill bit. Talk to the staff at your local hardware store for your best hardware options.
  • You may want to work with an assistant especially if your artwork is heavy.  It’s more fun to work with someone.
  • Try using white gloves to protect the artwork from damage and/or to prevent fingerprints and smudges.
  • Stay away from using adhesive hooks.  Since you are glueing the hook to the wall than the wall paint will be supporting the weight of the picture. In my opinion, this is putting your artwork at risk of damage.
  • Place a folded blanket or equivalent on the floor to rest the art while you are measuring etc.
  • For security sake, check that the wire on the picture frame is secure.  Try holding the picture over your sofa or over cushions and hold the picture by the wire lifting it up and down carefully several times.  Better to be safe than sorry.  You don’t want to find your hung picture laying damaged on the floor because your hardware wasn’t secure.
  • The center point of an art piece should be hung approximately 57” from the floor. In this way you are creating oneness with the art whether you are sitting or standing. Having said this, if you are really tall you may want to adjust this height to a maximum of 60” from the floor.  The measuring is easy.  First step is to measure from the floor up to 57” and lightly mark this spot on your wall. Step two is to find the center of the artwork by measuring its height and dividing by two. Step three is to ascertain the measurement of the taut wire by taking your finger or the tip of your measuring tape and pulling up. In this step you are measuring from the “taut wire” to the top of the picture (frame).  Step four is to subtract the “taut-wire” measurement from the measurement you found in step two (centre of artwork). Step five is to take this measurement and add it to the 57”. Step six is to lightly mark this final measurement your wall.  Step seven is to secure your wall fastener.  In summary, you are trying to align the middle of the picture, minus the distance from the taut wire to the frame, to your eye-level measurement i.e. 57″.
  • If your art is heavy try using multiple hooks.  This not only helps to support the weight but it also helps to prevent the art from shifting and becoming crooked.  All the measurements and formulas remain the same.  Depending on the size of the art place the hooks 4″ to 5″ apart.
  • You can also prevent art from shifting by placing Museum Putty on the bottom corners.  You can purchase this putty from Home Depot.
  • When hanging art above your bed leave approximately a 6″ – 12″ space above the headboard.
  • I would suggest hanging art 8” – 12″ above your sofa so your family and guests’ heads are not going to accidentally hit your art.
  • If your sofa is 6’ long and you have a couple of side tables don’t feel that your art has to stay within the limits of your couch.
  • Before committing a nail/s and fasteners to the wall try cutting newspaper, to the same size as your art. You may need to tape pieces of newsprint together to get the right size template. Tape your new template(s) to the wall to get a feeling of placement. Use painters tape so you don’t damage your wall. This step will give you the confidence to put hammer to nail. Placing the templates on the wall will allow you to visualize the overall proportions and spacing. You will need to make some adjustments.
  • When hanging art on a gallery wall meaning you are going to be hanging several pieces on a wall measure and mark the 57” from the floor. This mark is your “eye level”.  Find the place you want to be the center of your grouping. This place will be along the established “eye level”.  Plan your collection around this point. Now you are thinking of your collection as a whole.  Find your largest piece and place it off centre and build your collection around it. Your large piece of art will anchor the wall and be the mainstay or cornerstone of  your collection.  Having a variety of sizes small, medium and large, will create interest and make the collection as a whole more dynamic.
  • Spacing around each piece is required to allow the art to breath.  It is not necessary to have even spacing around each piece of art that makes your collection. Try to line up the art to any line whether it is the outside frame or a line that the mat creates or a line that maybe within the actual art piece. You may ask yourself why am I doing this? You want the viewer to have a comfortable eye flow from one piece of art to another. Having your eye follow from one line in a piece of art to another line in another piece will create this flow. This is why it would be very different to have equal spacing between art pieces. I hope I have made this clear and easy to understand.  Without a natural eye flow the eye is jumping from one piece of art to another. If the viewer’s experience is uncomfortable than the viewer will move on.
  • When creating a cluster of art mix your art. Salt and pepper your dark pieces with your light pieces.  Intermingle your colour pieces so they are not clustered together.  Do the same with your photos – mix them with other mediums.  Your frames do not have to be the same colour.  Do mix and match them.  Don’t have just one dark frame mix with light ones and the same goes for not having just one light frame mixed with all dark.  The attention will go to the art that feels left out and not to the whole group as an unit.
  • When hanging one picture centered over your sofa be sure it engages the space (see Figure 2).  In others words the artwork needs to be large.  The artwork can be making a bold statement or a quiet statement but it needs to make a statement and it can do this by its size.

    (Figure 2)

    (Figure 3)

  • If you have two pictures to hang on a narrow wall, one above the other I would suggesting having the eye level between the two pictures. Therefore, one picture would be above the established eye level and the second picture will be below the eye level.
  • On a narrow wall where there is no furniture to consider hang a narrow picture (see Figure 3).
  • If you are wanting to engage a wall try hanging two paintings or more paintings.

 

 

 

 

 

 

 

Check out Donna’s website at www.donnawilsonartist.com

 

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About Colour: Orange

ABOUT COLOUR: ORANGE

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About Orange

The colour orange radiates warmth and happiness. In the world around us it’s the colour of vivid sunsets, fire, flowers, vegetables and many fruits. It’s the colour of Halloween, pumpkins, and marmalade, it is also the colour of festivity and amusement.

Orange means energy, vitality, excitement, activity, adventure, and risk.

Orange is associated with vitamin C and good health. Orange is symbolic of the Fall season. The colour Orange is associated with Protestantism.

Orange as a flourescent colour is used for high visibility. It is worn as vests for construction workers, cyclists, city traffic site workers and police officers. Orange cones are used as construction zone marking and safety equipment.  Orange is the colour of school buses.

It is a popular colour for sports teams because of its high visibility and association with activity.

There are a broad spectrum of orange tints and shades like terracotta, cinnamon, melon, peach, salmon, and burnt sienna.

Orange in Different Cultures

  • Because of its symbolic meaning as the colour of activity, orange is often used as the colour of political and social movement. Orange is the party colour for too many countries to mention.
  • This colour as mentioned above is a popular colour for sports teams.
  • Western Culture: Orange is a theme color for Halloween, halloween jack-o-lanterns, halloween decorations, and pumpkins.  This makes sense because it is the color associated with autumn and harvest.
  • The Dutch national sports teams, Australian Football League, Indian Premier League, Ukrainian Premier League, Bulgarian A Professional Football Group, Gaelic Athletic Association, United Football League, Philippine Basketball Association, Scottish Premier League, Norwegian Premier League and the Canadian Football League. [information from https://en.wikipedia.org/wiki/Orange_(colour)]
  • India: Orange is incorporated in the flag of India
  • Niger: Orange is on the Flag of Niger representing the Sahara desert and the orange disk symbolizes either the sun or independence.
  • United Kingdom: orange stands for the Northern Irish Protestants. Orange is on the flag of Ireland.
  • Netherlands: The Royal family of the Netherlands belongs to the House of orange. It is the national colour of the Netherlands.
  • In Asia: it is the symbolic and sacred colour of Buddhism – illumination, the highest state of perfection. The saffron colours of robes to be worn by monks. This colour is also symbolic and a sacred colour of Hinduism.
  • China: In ancient China, orange represented transformation.

Theory of Orange

  • Orange is a secondary colour located midway between the primaries yellow and Red on the colour wheel. It’s character of expression changes depending on the ratio of these primaries in the mixture. This ratio will reflect its colour temperature. More yellow makes the orange lighter and more red makes orange darker.
  • Orange became a important colour for all the impressionist painters. They understood colour theory, and they knew that orange placed next to it’s complement blue made both colours brighter as seen in the painting Sunrise by Claude Monet and Pierre-Auguste Renoir’s painting Oarsmen at Chatou.
  • Paul Gauguin used orange paint as backgrounds, for clothing and skin colour, to fill his paintings with light and exoticism.
  • Henri de Toulouse-Lautrec was very fond of orange, the colour of amusement.
  • Claude Monet painted a series of haystacks with the colour orange.

Things Orange

  • Fruit: Apricots, Butternut squash, Cantaloupe, Cape Gooseberries, Carrots, Golden kiwifruit, Grapefruit, Mangoes, Nectarines, Oranges, Papayas, Peaches, Persimmons, Pineapples, Pumpkins, Rutabagas, Sweet corn, Tangerines.
  • Vegetables: Orange bell pepper, butternut squash, yams, carrots.
  • Flowers: California poppy, flowering maple, pot marigold, Asiatic lily, butterfly wee, Asiatic lily, ‘Klondike’ cosmos, Iceland poppy, helenium, lantana, fritillaria.
  • Gemstones: Garnet, Mexican fire opal, orange beryl, orange tourmaline, Malaya garnet, Orange sapphire, poppy topaz, mandarin garnet, Mexican jelly opal, orange diamond, orange sunstone, orange zircon, citrine, orange amber, peach moonstone, sardonyx, orange agate, Picasso marble, peach aventurine, palm wood, orange fluorite, orange beryl.
  • Animals: Lions, tigers, orangutans, red river hogs, fire fox, gila monster, dart frog, orange Julius butterflies, monarch butterflies, goldfish, Irish setter.
  • Other: Garfield comic strips, cheese, a lion’s blaze, Cheetos, Doritos, traffic cones, orange soda, pennies, loonies, Vitamin C, life vests, the gates at Central Park, Ernie from The Muppets, Home Depot Logo, Kraft macaroni & cheese, The Golden Gate Bridge, Beeker the Muppet, nail polish, lipstick, basketballs, campfires and sunsets.

 

Stay connected for future posts about colour.  My website: www.donnawilsonartist.com

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About Colour: Violet

ABOUT COLOUR: VIOLET

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About Violet

Red-violet connotes spiritual love. In purple (reddish violet), the colour of the cardinals, temporal and spiritual power is united. As the opposite of yellow, consciousness, violet represents unconscious – mysterious, impressive, and sometimes oppressive, now menacing, now encouraging, according to contrast. When violet covers large regions it can be frightening.  Primarily, all tints represent the brighter qualities of life, whereas shades symbolize the dark and negative forces.

In nature many plants have light violet shoots with yellow centres.

Many of our fruits, vegetables, gemstones and minerals are violet such as eggplants, beets, purple cabbage, grapes, lilacs, irises, lavender, and amethyst mineral, purple garnet, sapphire, opal and topaz.

Violet is the hue synonymous with devotion, piousness, religion, holiness, saintliness, reverence, justice, sensuality, shadows, solitude, splendor, truth, superstition, majesty, and magic. In the other side of the coin violet represents arrogance, exaggeration, dishonesty, sorrow and secrecy.

Violet in Different Cultures

  • In Europe: Red-violet has been the colour most associated with royalty. It is still used by the British Royal Family and other royalty in Europe as a ceremonial colour on special occasions.
  • Britain: Red-violet (purple) is sometimes associated with mourning.
  • China: Red-violet represents spiritual awareness, physical and mental healing, strength and abundance. It also symbolizes luck and fame. It represents nobility. In Chinese painting, this colour represents the harmony of the universe.
  • Japan: Red-violet represents privilege and wealth, the colour associated with the Japanese aristocracy.
  • India: Reincarnation.
  • Thailand: Widows in mourning wear violet.
  • Brazil: Purple is the colour of mourning.
  • Egypt: The colour purple is the colour of virtue.
  • Catholicism: Contrition, penitence, colour of Lent

The Theory of Violet

  • Violet is a secondary colour located midway on the colour wheel between the primaries red and blue.
  • Violet is opposite yellow on the the colour wheel.
  • It is also sandwiched between blue-violet and red-violet.
  • It’s character of expression changes depending on the ratio of these primaries in the mixture. This ratio will reflect its colour temperature.
  • The range of modulation is very broad as violet is the darkest hue on the colour wheel. Add white to violet and this hue will extend to a wide range of tints and values. Add black to violet for a wide range of violet shades.
  • Add violet’s complement, yellow, and you will get various transitional tones between light yellow and dark violet.
  • Cobalt violet was used by artists Paul Signac, Claude Monet and Georges Seurat. Vincent van Gogh was very knowledgeable on colour theory and he used violet in many of his paintings including his paintings of irises and the swirling and mysterious skies of his starry night paintings. He often combined it with it’s complementary colour, yellow.

Do check out my website at www.donnawilsonartist.com

(https://en.wikipedia.org/wiki/Purple).

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About Creativity

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About Creativity

It is difficult to describe what creativity is.   Creativity has been explained as not a talent but it is a talent.   It is a talent we are all born with.  Some of us have lost this ability.  It is the ability to be in a state of playfulness, child-like if you will. It is the ability to temporarily set aside every day worries, stresses, anxieties and busyness to engage one’s playful and exploratory side.  It is about being mindful, staying in the present moment. The talent I refer to here is the talent of being able to engage the child within.  If you have lost this talent don’t fret as the lost can be found.

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Creative people can do just that.  They can go back and forth from dealing with the everyday adult responsibilities and to separating themselves.

Creative people realize that they need to cut off the outside world and it’s problems temporarily in order to delve into their creative zone.   This is easier done when we set ourselves time boundaries. We have a beginning and an end even if it is for a short time. We can always start again at a designated time.

When trying to get into the creative zone it is important not to get impatient or try to force it. We need to relax and let our minds full up with good positive self-talk. Creative people have learned to be patient and not to expect immediate gratification. They let ideas flow without judging.

Self-doubt and fear are creative killers.  They will paralyze and cripple creativity. As an art teacher I have witnessed this over and over again – students who are afraid to mix colours and apply their mixture to their surfaces. They are so afraid of making a mistake. Their biggest mistake is not being playful, not experimenting as a child would.   Have you ever watch children colour in their colouring books. They pick up crayons and go for it. They don’t worry if they colour their rabbit (the one in their colouring book) green and orange with a pink tail. They don’t care if they go outside the lines.  What has happened to us? I figure as we age we experience so many negative voices that smother our creative beings so many negative voices such as don’t do that, don’t do this, and that is wrong or that doesn’t look good. In order to get into our creative zone we have to guard ourselves from our critical selves. Creative people feed their minds with positive self-talk. They tell themselves that they can work through the process.  It is important here that I mention that creative people do experience self-doubt.   They know that to get into their creative state they need to clear their minds and push the negative stuff away.

Does any of this seem familiar?

 

Check out Donna’s website at www.donnawilsonartist.com

 

 

 

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Creating Uninhibitedly

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Creating Uninhibitedly

Welcome to this blog on creating uninhibitedly. I found some great artists’ quotes that are so apropos. See below:

When you can do the common things of life in an uncommon way, you will command the attention of the world. – Anonymous
Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world. – Albert Einstein
Every child is an artist the problem is how to remain an artist once you grow up. – Pablo Picasso
 
Jean-Michel Basquiat’s paintings became famous and one of the reasons is because he was able to find the child within and express it so uninhibitedly.   It has been said that one of Basquiat’s collectors seems to value nothing more than a highly individualistic, expressive view of the world.

I am at a stage in my art career that I absolutely appreciate artists who can find and express their child within. Another way of saying this is to create uninhibitedly.

Stay Tune: In a future blog I will speak about ways to loosen up.

 

You can find out more about Donna’s work at www.donnawilsonartist.com

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