Yes I would oil it out and wipe with tissue, if the painting is dry. That is to make the brush glide just as painting in wet paint.

Best, Allan

Dear Allan and Cynthia,
 

Yes, that makes sense. Thanks again.

Cynthia, I have one more question for you: I take it you lie the painting flat on a table when you sign, am I right?

Best,

Mikael

Mikael,

I have unfortunately never figured out how to sign my oils in the script I use for works on paper (which I really like, as did one of my teachers who kindly made no comment about my painting, but at least liked the signature.

Actually the only way I would know to do this is by laying the final colors over a dry contrasting color, then sign in (scratch in) script with a pencil or other thin writing tool while the top layer of paint is wet. The only problems with this approach is that you have to be sure about where you want to place the signature and that the top layer is the final layer.

I've also played with the gold/silver pens, but the final varnish removed the ink.

Finally I rather compulsive about not signing the painting until I've placed it in its frame (or matboard), so that I can consider the location, size and color of the signature. Then I place the framed piece on the floor and hover over it so I can better control the brush.

Here's what I do when I sign my oil paintings:

I wait until the lower left area is completely finished and dry and then I put a thin layer of 50/50 linseed/OMS over it, and wipe almost all of the oil off. This helps the brush glide.

Then I draw a straight horizontal line, in paint, using a level, about an inch below the area where I will put my signature. This is so my signature is level also. I have a tendency to angle my signature upwards or to have a very wobbly and sloppy looking baseline. The horizontal line keeps me straight.

Then I sign my name in paint that is very thin (thinned using the linseed/OMS mixture. If I mess it up, I wipe off the messy parts and do it again.

Finally, when I'm happy with it, I wipe off the horizontal guideline.

(I think it would surprise our clients and collectors how much thought and effort goes into something like the signature that they probably believe is just dashed off with bravado at the completion of a painting!)

I've heard of oil painters who use a rubber stamp with their signature on it which they lightly brush with oil paint before stamping the (dry) surface of the canvas. I've never actually seen this, though.

My husband has said for years that he should sign my paintings since my signature looks so ugly. Only pride keeps me from letting him - because he is totally correct.

Dear All,
 

What a relief to know that I'm not the only one struggling with this. It just seems so embarrassing when you have made a painting that you are fairly content with, and then put a helpless blob of lines resembling a first graders attempt of writing beneath it.

Chris, I've also resorted the method of writing in the wet paint. Actually the most permanent and easy of all. It cannot be removed by careless restorers later on, and you can actually write as you would on paper. But, you are right, I hover too. And there is something about the signature that somehow is final. I guess we never really finish our paintings, we just stop at a certain point.

Michelle, Yes, that sounds about right, I also have difficulty in making it straight. Now, forgive me for being a total idiot, but as a Dane I have been trying to figure out what OMS stands for. Either my wits are going or I had too much good Roman wine yesterday evening to be able to think straight. Could you help me out?

Linda, The rubber stamp I've actually seen on some of Monet's paintings believe it or not. Talk about industrious.

Kimberly, Maybe one should hire someone to do it for us. That would take the worries away.

Lots of love from Rome,

Mikael

OMS is Odorless MIneral Spirits. I use Gamblin's Gamsol.

Mikael, Sorry it has taken me so long to reply . Things got so crazy at my house and then I had some problems with my computer but I am up and running again. It seems like you had your questions answered.

As for me, I use gamblins neo meglip as my painting medium but whatever you normally use will work fine. The liner or script brush pictured in Allan's post is like the one I use with bristles approximately 1" long. You might not find it in a catalog with the oil brushes but look in the watercolor brushes. I don't mix my medium with OMS but dip my brush in the OMS and then wipe it on a rag so that the bristles are slightly wet and then roll the brush in paint thinned with medium. The OMS in the brush seems to help the paint to flow better out of the brush. It really is a matter of trial and error to get the right consistency. I then do a practice run by writing my name on my palette to see if the flow is right. I don't oil out first like Michelle suggested but will give that a try next time. Sounds like a good idea.
And I always lay my painting flat when signing.
These are just suggestions on what I do. Lettering is not so bad for me having been a graphic designer before computers I did lots of handlettering on layouts with brushes. Now if I could only master the important part, the actual portrait painting. That is where I need all of your expertise!

Cynthia

Signature dilemmas:

To me this is the sort of composition that doesn't cry out for the signature to be placed in a particular spot. It's crowded on both bottom corners and gets complicated as you work in from those corners. Maybe one of the top corners?

We could have a "where to sign the portrait contest." The winner gets a free fifteen minute background painting seminar with me. Second place gets full day, and last place get a whole week.