new question on signing

[john lucas]

Most woodturners sign on the bottom or in an unconspicious area. I went to using a dremel engraver on my hand mirrors because I wanted the signature to be subtle but part of the mirror along with the date because I thought both would be important to the owner.
Here's my question. Painter put the signature out front for all to see. Most put it in a lower corner and make is somewhat subtle while others kind of splash a more noticeable signature along the bottom. Would it be awful if we put a signature out where people could see it. I know that would be sort of an ego but don't all artists reach that point somewhere in there career.
I think it would be interesting to hear points of view on signing a piece where the signature would be up front and easily seen instead of hidden on the bottom. Just kind of wondering out loud since I spent the day shooting paintings yesterday. 3D art rarely has the name out where it can be seen.

 

[Charlie Knighton]

2d paintings are where you can see them

have been mulling over where to sign the Bear Clawed series

 

[Ed_McDonnell]

Here's some things that come to mind:

If your name adds value to a piece of art, having it easily (but subtly) visible could increase the value to a collector.

If you are selling a utility item, it probably doesn't make much difference to most people unless the signature "uglies" up the piece or impairs its functionality.

If you have a massive ego that needs constant reinforcement, prominently displaying your signature on each piece will bring you no end of pleasure as you look at all the unsold items on display in your own home.

Ed

 

[Matt Owen]

I think that if you can sign a piece with style (unlike my chicken scratch signatures), then it would be fine as long as it doesn't detract from the beauty of the turned item.

However, once you start doing that, you have to keep doing that. That means that you have to display your signature on all the ugly stuff that you make, as well. For that reason, I'll keep mine on the unseen surface.

Matt

 

[john lucas]

Matt- that's what they make Green Felt for, to cover up the bad signature and screw holes on the bottom.

 

[Frank Kobilsek]

John,

Interesting thought. We buy clothes with the makers label right out front. We buy cars with the makers logo on the front, back, both sides and in the middle of the steering wheel. Most our beverages (adult and otherwise) spend millions of there logos and the container is covered with thier logo. Designer Eye wear and shoes have the makers logo on the sides. No one ever questions these 'design' elements.

Could your 'John Lucus' just be part of the design as all the logos above are? Why not! Matt's comment about always using this design element becomes very valid my arguement. But so does Ed's massive ego comment, while your customers might buy it, your fellow turners might assume you have a massive ego. What the heck a turner seldom buys a turning, he is more likily to study and go home and try to make his own. If someone copies your signature we will all give you permission to have a massive ego.

Frank

 

[George Guadiane]

Not For Me

I can't imagine who's name would add value to the primary surfaces of a turning.
I suppose that if the signature looks better than what would be underneath or if the signature has value on a plain piece of wood/paper, it might help, but otherwise, I can't see what a visible signature would add.
As an Antiques dealer, I have handled pottery, porcelain, jewelry, toys (OK, SOME toys have their logo on a visible surface), etc., but with rare exception, even the GREATEST artisans of their time, on any 3 dimensional work have signed on the bottom/back, if at all.
Some of the really great have not signed, believing that their work was unique enough to be recognized without any attribution - Potter Shoji Hamada (once a Japanese Living National Treasure comes to mind).

 

[Ed_McDonnell]

I know one turner that "hides" his signature somewhere on a visible surface of his turnings. He told me that people who are collecting his work enjoy hunting for the signature on pieces at shows.

Ed

 

[Charlie Knighton]

I have handled pottery, porcelain, jewelry, toys , but with rare exception, even the GREATEST artisans of their time, on any 3 dimensional work have signed on the bottom/back, if at all.

thanks George, i think i can continue to use the bottom, i can well see John's dilemma of where to sign the hand mirror. the mirror would be handled so much more than a normal turning that the signature could detract.

some elevated hf have the same problem of where to sign them, i have the Rover series with the 3 legs that i have not found a place to sign them that i have been completely happy with.

 

[John Jordan]

I can't imagine who's name would add value to the primary surfaces of a turning.

Some of the really great have not signed, believing that their work was unique enough to be recognized without any attribution - Potter Shoji Hamada (once a Japanese Living National Treasure comes to mind).

And said when asked about that and the fact that his students made work that looked like his, that the worst work would be attributed to his students, and the best to himself.

John

 

[Griesbach]

And said when asked about that and the fact that his students made work that looked like his, that the worst work would be attributed to his students, and the best to himself.

John

A bit of ego in that statement?

 

[john lucas]

People used to ask Rude Osolnik how much he got for his candlesticks. He always commented, with my name on it or yours. He was only partly joking of course because he knew the value of a name. His signature was worth a lot more than mine will ever be, whatever it's on.

 

[Charlie Knighton]

Shōji Hamada (濱田庄司 ,Hamada Shōji?) (December 9, 1894 – January 5, 1978) was a Japanese potter. He was a significant influence on studio pottery of the twentieth century, and a major figure of the mingei folk-art movement, establishing the town of Mashiko as a world-renowned pottery center.

no ego now

 

[George Guadiane]

Some of the really great have not signed, believing that their work was unique enough to be recognized without any attribution - Potter Shoji Hamada (once a Japanese Living National Treasure comes to mind).

And said when asked about that and the fact that his students made work that looked like his, that the worst work would be attributed to his students, and the best to himself.

John

(Jazz Drummer) Harold Chang attended classes at the University of Hawaii, and one that he was fortunate enough to have attended was put on By Hamad and Englaishman Bernard Leach. I bought three of Hamada's work from Chang, about a decade ago and had the chance to "talk story" about his classroom experience...
I said all that to say that yes, he probably had a we bit of an ego, but what he did have was a good sense of humor. Probably the source of the comment.

 

[Odie]

We all have our thoughts on this. For myself, I always sign my turnings with my stylized mark.....on the bottom of the turning. My name is not visible anywhere, only the mark.

Most people do not care who I am, they will buy one of my turnings simply because they like it. This is not to say there aren't a few people in this world who would buy one of my turnings because they admire my particular style, and have seen my work before.

I am not a Rude Osolnik, David Ellsworth, or John Jordan, there is no universal name recognition for me.......so, I don't have the audacity to think my name is the focal point around any of my sales.

OOC