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A question on marking your work

Tim Starliper

Tim Starliper

Joined
Jan 13, 2022
Messages
177
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Location
Middletown, PA
Website
www.timsworkshop.com
When you turn something that has a bottom or area large enough, do you 'sign' the work? If so, what do you put there? How do you put it there?

Over the years, I have signed my work in a number of different ways using a number of different techniques. Currently, I literally sign it - I laser engrave my signature on the bottom. As I was aligning the laser to do a bowl bottom today, it got me to thinking about what other people might do.
 
I sign with a pyrography pen, freehand. And I find a place to sign everything, not just those with a “bottom”. I often add the wood species (when I know and when it won’t detract from the piece). A couple months ago I started adding the year. Tiny pieces usually just get my initials.
 
Yep, me three!.... (As the three stooges used to say!)

I have a logo made up of my initials done with a woodburning pen.

-----odie-----

1942 canarywood (14).JPG

I have been experimenting with a Sakura artist's pen for applying an inventory number, but this method doesn't work well with dark colored woods.
 
I just use an archival ink pen (India Ink, I think) I tried branding irons, logos, etc, and just seems too much trouble compared to simply writing my name, month/year and title and/or wood species although I don't usually sign my flatwork (though I've been told I should, some people have told me my craftsmanship in that regard could be antiques roadshow worthy in a hundred years or so.. LOL!)
 
Brian Gustin said:
I don't usually sign my flatwork (though I've been told I should, some people have told me my craftsmanship in that regard could be antiques roadshow worthy in a hundred years or so.. LOL!)
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I agree......you should sign all your work.

-----odie-----
 
I sign with archival ink my abbreviated signature "Don W" note most of my turnings are not big enough for my full name" and a serial number such as 22001 ( first completed turning in 2022) etc.
 
Pyrography pen, wood species, year, and my name. and I can write pretty small, Leo Van Der Loo is longer than Don Wattenhofer and I can get that on most any piece I turn.

larger pieces are easier, but still I write small on them, used to have a number on it as well, no anymore now.

Old picture from 17 years ago.

bottoms.jpg
 
If you do a search, the subject has come up several times. I wanted to maybe "brand" my work. The consensus was that a branding iron makes it look like mass-produced in a factory. I sign my work like Betty Scarpino, with a little Dremel engraver, my name, type of wood. If it goes to the Art gallery I do not add a date.
 
Applied before finish: Branding iron with my hallmark. Archival ink for year and item number (both presently 2 digits). Lately I have also been adding an ink signature if there is space.
 
William Rogers said:
I have used all of the methods. I do believe that you should sign your name and not use initials. I also feel it should be done freehand. Just my take.
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Hi William......we have a history of not agreeing, along with a few others here......and, really......that's OK by me! :)

Yes, I am using a logo made from my initials. Maybe I'm right, or maybe I'm wrong......but, if someone of importance has to ask who I am, he/she will be much more likely to remember the name and associate it with the logo, rather than a signature. It's true that somewhere there is someone who would like to know who I am, and there won't be anyone to answer that question.

I am definitely not a production turner, and it won't take many more sales to keep up with what I produce already......so, I'm taking this gamble, knowing I might be an "unknown" to a few people, while I might be ingrained into the memory of a few others.

That's my take!

I've mentioned this before, that my intentions are not related to the money......for me, it's all about self-improvement.....and, I don't think I've reached the pinnacle of what I am capable of yet.....! :) As always, it will take fortitude and determination to find out if that is true, or not. In the mean time, I do want to make the sales.....but, that consideration is secondary to my most important objectives.

-----odie-----
 
William Rogers said:
I have used all of the methods. I do believe that you should sign your name and not use initials. I also feel it should be done freehand. Just my take.
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I agree with you for my own work.

However a maker’s mark or trademark has long been accepted for craft arts especially in pottery and silver.
Some marks are associated with individuals others with companies or individuals with assistants who don’t get credit.

A piece is not finished until signed or marked.
The signature or mark is the final expression of the artist.

I accept that as part of the piece.
 
Tried several methods mentioned here already and settled on an Archival Ink pen, sign with my initials and put the year made in small print. On the last brand/stamp method I tried I had a rubber stamp made with my logo I use online and stamped items on the bottom with archival ink. I had a few folks buy an item and hand it back to me to sign for them. Done, I sign them by hand.
 
Interesting to see everyone's take on the topic. I have problems writing on the bottom of many things by hand - just comes out looking like a mess. When I got my laser, I hit on the idea of using that. I first made a logo using the same image as I use here, but heavily edited to convert to a black & white line drawing, then added my name as text. A couple of test burns and I decided it looked too 'commercial' for me. I then hit on doing the same thing, but using my actual signature instead. I used a black sharpie marker and signed the middle of a piece of white printer paper. Then took a picture of that, imported it into my PC where I edited it using GIMP to increase the contrast, then turn the white background into a transparency after I had made the black lines a lot darker. Exported to a PNG file, this is what I use for the laser now. I can tweak it's size as needed, depending on what I am putting it on. I also made a version coupling my signature with the line drawing, replacing the plain text with my signature. I also experimented with the year, handwritten in sharpie and edited the same as the signature, but I decided I did not like that - partially for the reason Richard mentioned. I don't want someone to look at a piece, then turn it over to see it was turned several years ago. Family pieces and gifts get a date. Nothing else.

Funny thing about my laser, I originally bought it with the intention of engraving pens. I have a rotary jig for it, which I assume works. I have not yet engraved on a pen with it - or on anything round, for that matter.
 
@odie Yes we sometimes disagree, but always IMO in a positive constructive way. Not that you are wrong, I’m just more right:)
@hockenbery It is my belief that woodturning work be signed by the individual with his signature. Speaking only for myself using anything where the person is not signing his name just is not the same. Just because it is acceptable to others for other crafts doesn’t mean it is something that I accept. I just feel if an artist produces a piece of art he/she would sign their name to that piece. When I see a logo without a free hand signature it gives me the impression it is a produced work not done by an individual artist.
 
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William Rogers said:
@odie Yes we sometimes disagree, but always IMO in a positive constructive way. Not that you are wrong, I’m just more right:)
@hockenbery It is my belief that woodturning work be signed by the individual with his signature. Speaking only for myself using anything where the person is not signing his name just is not the same. Just because it is acceptable to others for other crafts doesn’t mean it is something that I accept. I just feel if an artist produces a piece of art he/she would sign their name to that piece. When I see a logo without a free hand signature it gives me the impression it is a produced work not done by an individual artist.
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I feel the same way now. I was considering, a few years back, buying a branding iron. But, a signature makes it personal. Anybody in the factory could be the one applying the hot iron, medallion or whatever else.
 
I am thinking about a hybrid approach. For those of us that suffer from the "Doctor's Handwriting Syndrome"...( I have my Dr's handwriting, but not his education or income...). I like the information potential of the medallions - but think that in addition, I would scribble my signature on the wood also.
 
After using some different methods over time, I settled on a bit of a combination of those mentioned.

I keep a log book with s/n for most things I turn (things for shop use generally not included). I did use an engraver but once I found archival ink survived my bottom finishing method I switched because its faster. Ive had a cattle brand since I was a kid, so I use a branding iron with that logo. I also initial each piece. The wood type is also included. These items are in a circle around the brand, with my initials next to the brand.
 
When I worried about my handwriting for signing them I was reminded that you can't really "read" the signature on paintings that you see. It's consistent in style and recognizable from painting to painting as being from the same person but they don't try to make them readable or exactly the same. They're unique - that's the point.
 
Emiliano Achaval said:
I feel the same way now. I was considering, a few years back, buying a branding iron. But, a signature makes it personal. Anybody in the factory could be the one applying the hot iron, medallion or whatever else.
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Have to disagree there are some famous names in woodworking who use brands . I use a brand incorporating both a logo and my name . It is 3/4 square. Sometimes add the year
 
I signed mine when I did with an ink pen and carefully finished over it, bought a branding iron with my name and it looked like those big old stamps you see on things from overseas in those thin plain cardboard boxes that said 'MADE IN C_____, never used it. Because of an earlier thread on the forum, I now have some archival ink pens
 
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Gerald Lawrence said:
Have to disagree there are some famous names in woodworking who use brands . I use a brand incorporating both a logo and my name . It is 3/4 square. Sometimes add the year
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There may well be those that use brands. I am giving my perspective that if there is not an actual signature of the maker it doesn’t give me the feeling an artist was the maker. I guess I’m old school. My own perspective branding is not what I expect if the work is art. Some may think it is acceptable, but not me.
 
William Rogers said:
There may well be those that use brands. I am giving my perspective that if there is not an actual signature of the maker it doesn’t give me the feeling an artist was the maker. I guess I’m old school. My own perspective branding is not what I expect if the work is art. Some may think it is acceptable, but not me.
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I believe I understand you POV, William, and you are likely not unique in your view on this.

From my perspective, I don't get my sensual feedback from a signature......or logo for that matter...

...It is the work, itself, that gives me that special feeling about it that can only come from a work of an artist.

I have seen works of art that I felt were amazing, that had no identifying marks from the maker at all.....!

-----odie-----
 
My penmanship is terrible, so I’ve adopted block lettering my initials with a Dremel engraver and a coded date code (I also include species if space allows). I used to put the date on (still do for a planned gifted item) but have recently changed to a coded date code as I’ve accumulated many older dated bowls that I still want to gift or donate and don’t like that it may look ‘old.’ The coded date code is pretty simple, I’ll let you guess my age
 

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Every time this topic comes up we have 2 different sides. The side that likes a nice branding iron, or medallion, I personally like the medallions, and those of us, like me, that prefer to sign. Remember that I also asked where to buy a branding iron a few years ago. Some of you convinced me that signing your work is the way to go. But, asking this eternal question is like asking what is your favorite bowl gouge. In the end, there is no right or wrong, what works for you, or what you are comfortable doing is what you should do. While we are at it, what is the best lathe in the world? Just kidding!! Let's not get started on that!
 
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