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You've created a one-of-a-kind piece of artwork, now it's time to add your signature! As I was planning the topic of signing a watercolor painting, I of course had to find out what information was already out there in cyberspace. I found a blog by Susie Short in which she discusses how to add your signature to a watercolor painting (as in ink, pencil, paint, etc.) so I won't go into detail here except to say that my usual practice is to sign my paintings in watercolor with a #2 brush. (Signing in paint won't be as daunting if you take the time to practice in advance on scrap paper!)

Another good resource I found on signing your artwork was an article by Róisín O'Farrell in which the author covers color, size, consistency...pretty much everything except how to decide where to sign your art...so that is what I'm going to address here.

Choosing Where to Sign Your Painting

I've painted my signature on a scrap of tracing paper which I keep pinned to the bulletin board in my studio. I often use this little tool to decide where to place my signature on a painting. Below you will see some examples of placement, along with some commentary, followed by my finished, signed painting.

Bottom right: I felt like the bird was looking at my signature and giving it too much importance.

Bottom...almost left: Putting my signature to the right of the bird's perch seems to give some weight to the bottom of the painting. If it were further left, it may have seemed that the bird would tip over (if that makes any sense.)

Top Left: Signing the top of this painting would make it even more top-heavy.

Male Cardinal Considering His Options

It's true that I typically sign my paintings on the bottom right, but that's not always optimal. Some of the things I take into account when deciding where to place my signature include composition, busy areas vs. calm areas, value, and the placement of the subject within the picture space. The signature should neither detract from the painting nor call attention to itself.

In Male Cardinal Considering His Options, I chose the bottom left slightly overlapping the perch to provide connection to the base and stability to the piece.

Top left: I just didn't like how it looked so close to the bird's head.

Top right: Here it balances the bird, the space is not too busy, and the branches are less obvious.

Bottom right: This would be a good spot, except for the branches.

Bottom left: I think a signature would be too squished here as I don't want to overlap the bird's feet.

Winter Visitor

You could almost choose any of the four corners to place your signature, as long as it's not too large or too bold. For Winter Visitor I chose the top right corner and used a slightly darker pigment than the background so my name could be seen without being too obvious.

Bottom right: On this piece, I really liked the open space on the bottom right and I didn't want to fill it with my signature.

Top left: Definitely too close to the subject's face.

(Almost) Bottom left: I didn't want my signature in the middle of the gravelly texture at the base of the pumpkin, so I moved it up a little and liked it better.

Oliver's Pumpkin (sold)

"Your mark should identify you as the artist, compliment the painting and not distract from the work."
~ Róisín O'Farrell

Pair of Poppies

Pair of Poppies may be the only example I have of placing my signature on the top left. The bottom was too busy and the top left seemed to be the best option for me.

I'd like to make note of one more thing: don't sign your painting too close to the edge or bottom of your watercolor painting. When you mat and frame your piece, you don't want to cover it up!

Paint. Love. Repeat.