C O N T E X T 1 3 8 : M A R C H 2 0 1 5 23 Far left: the modest signage on Boots in Haddington is appropriate for a historic building. For traditional shopfronts with narrow fascias, such as this one in Bath, the simplest of lettering is often the most successful. Late 19th century painted lettering uncovered in George Street, Perth, during renovation works An old painted sign in Rothesay, Isle of Bute LINDSAY LENNIE The art of shop signs Shop signage is hard to control: improving standards depends on educating owners, and maintaining a well-considered approach to shopfront design as owners come and go. Ambrose Heal’s book The Signboards of Old London Shops details the fascinating history of pictorial signs, once prolific in 18th century streets. Each trader had their own symbol to identify their premises. From the obvious such as the golden boot for shoe makers to the curious such as a peacock for lacemen, the streets must have been livened by these depictions. At a time when illiteracy was high, having pictorial signs to identify locations of different traders was essential, particularly in urban areas where larger numbers of commercial premises were found. Over time, lack of maintenance causedmajor problems, not least the death of four pedestrians in London in 1718. It was 1762 before hanging signs were eventually banned in London, following the example set by the Parisians in 1761. In Glasgow in 1772, the burgh authorities bemoaned these fixtures and sought to bring about their removal.The burgh records of 1772 note that they: ‘Recommend to the dean of guild to cause take doun and remove all the signs which hang over the high streets of this city, as they intercept the views along the streets and darken the light of the lamps in the night time, an authorize the dean of guild to take all lawful steps necessary for the removing of the said signs.’ The days of the pictorial signboard were numbered. The transition was gradual. In spite of the ban, some continued to hold on to this tradition, notably for public houses, which we still see today. Although there was understandably a reluctance to change, the legislation proved to be a watershed for shopfront design. It helped to establish what we now understand to be a traditional shopfront, with its fascia set above the shop entrance and display windows. Slowly during the late 18th and early 19th century the narrow space above the shop windows began to be used for signage. It was a much more subtle approach than shop owners and their customers had been used to. However, clever signwriters were able to decorate these fascias with hand-painted beautiful lettering. Some established their own distinctive style, recognisable as the hand of that particular painter. Many were highly skilled in artistic technique such as the ability to make lettering appear three dimensional. By the Victorian period, as shop numbers increased substantially, visibility and making a strong statement became important. GildedV-cut lettering protected by glass indicated a high-class retailer. Individual letters of wood, ceramic or metal were widely used to good effect. During the 19th century there was a revived enthusiasm for three-dimensional signs with their old trade associations. These included a Highlander to indicate a tobacconist and a bear above a barber’s shop, the bear indicative of the animal’s oil once used to grease hair. Into the 20th century, new materials like chrome andVitrolite rose to prominence. Applied lettering of a simple sans-serif font became fashionable. Use of neon lighting was favoured to contrast with the glassyVitrolite
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