These things are easy to find at art stores, and they’re quite reliable.

They lay down a good amount of liquid and the tips are quite gentile on the print surface.

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Add in the option of limiting your work (which we’ll cover in a moment) and you introduce scarcity, which in turn produces a higher (perceived and/or real) value.

One more reason you should think about signing prints is to promote yourself as an artist.

We’ll also talk about this idea of “extra room” in the next article when we cover mounting, matting, and framing.

Above all, if you decide to sign a print, the stuff you sign with should be of equal or greater archival quality to the print itself.

Pencil is also used by some artists, especially when signing on mats rather than print material.

I don’t have much experience with this, but I can’t quite get into it because it seems so temporary compared to paint or ink — but to each their own.

Since the signature states that the print was truly produced and/or approved by the artist, it becomes more desirable to art collectors.

Unsigned reproductions can work fine for decoration or personal admiration, but they won’t hold the same value as a signed print.

That means leaving a border around the actual print, whether it be white space or a printed color (including black).

As you read through the rest of the article, this will make more sense.

Sometimes I’ll break that rule, depending on the situation and the particular print.