Signatures
It took me a lot of trial and error to develop a needlepoint signature.
My first attempts were clumsy large block initials as seen in "Caly Flowers".

Some of my workshop pieces were signed R-E followed by Ros-Elyn. I was developing the theory that "she" was my inner artist. Even my own Mother asked me "who is R-E?" Finally, I settled on RCS and I'm happy with that.

"Trois Oiseaux", being entered into competition, needed something unique so I stitched the full title and date of completion. Aha! in the same show got equal treatment, the title and date are stitched into the upper left corner and my initials are in the lower right corner. "Jake's Ark" got the fully stitched "Grandma Roz" AND I just noticed that I forgot to sign "Arin's Talis Bag"! The Kimonos got a bit out of hand as I tried to create a Japanese script. When I created "The Journey" I thought that I would develop a sun logo (as in Soleil) but I wasn't please with the effect and so I didn't repeat it.

My current style is to sign my pieces with a discreet RCS that blends subtly with the stitching and becomes part of the design. Sometime the signature is too subtle and even I have trouble seeing it or my framer asks me to give it more contrast.

Why so much fuss about the signature? Because including a signature into the composition of the piece is a fun design challenge. The RCS on "Rhapsody" is to me a triumph! (it can be seen in the Crescendo Gallery). I stitched it freeform, in keeping with the mood of the piece and I love the result. A signature gives your piece ownership and shows that you cared enough to create it and give it a personal identity.

When I come across a piece of stitching at a museum or sale and it's unsigned, it's stitched by "anonymous". Who created it, when, why, how? Why store all of these unanswered questions to your imagination? Sign your work, date it, give it a name and then write its "story" and attach it to the back of the piece.
You can give your art to history or to the garage sales.