Sygnatura nie jest obowiązkowym elementem obrazu, jednakże jej brak może obniżać jego wycenę rynkową. W drugiej połowie XX w. zjawisko podrabiania sygnatur przybrało rozmiary masowe, co wzbudziło zainteresowanie metodami ich identyfikacji. Zapożyczenie metod badawczych z pismoznawstwa okazuje się możliwe jedynie w przypadku badania sygnatur, które twórca „pamięta” w postaci wektorowej (pamięć proceduralna).

Artist’s signatures in the vector recording

Abstract

A signature is not a mandatory part of a work of art; however the lack of a signature may reduce its market value. In the second half of the twentieth century, the phenomenon of counterfeiting signatures spread on a massive scale, which aroused interest in the methods of identifying them. The application of methods used for handwriting analysis is only possible when verifying signatures that the creator “remembers” in vector form (procedural memory).

A signature is not a mandatory part of a work of art; however the lack of a signature may reduce its market value. In the second half of the twentieth century, the phenomenon of counterfeiting signatures spread on a massive scale, which aroused interest in the methods of identifying them. The application of methods used for handwriting analysis is only possible when verifying signatures that the creator “remembers” in vector form (procedural memory).