Since their advent more than 100 years ago, neon signs have had a special relationship with script letterforms. By their sinuous nature, neon tubes lend themselves to script. Moore tube signs used script in the early 1900s; Claude's first neon sign in the U.S. reproduced Packard's trademark script logotype.
Claude's first neon sign in the U.S. featured Packard's script logotype. (American Sign Museum)
Steven Heller and Louis Fili's recent book Scripts: Elegant Lettering from Design's Golden Age celebrates classic script letterforms and provides some insight on their evolution and significance. "In commercial contexts, a script would never be used for, say, a railway sign or other official posting," they write, "but it was common and appropriate for virtually any other type of signage . . . which demanded an ad hoc or handwritten appearance."
Specimen sheet for Gillies Gothic Bold, from American Type Founders, 1934, reproduced in Heller & Fili's Scripts: Elegant Lettering from Design's Golden Age.
Specimen sheet for Gillies Gothic Bold, from American Type Founders, 1934, reproduced in Heller & Fili's Scripts: Elegant Lettering from Design's Golden Age.
"Neon Script," from Alf Becker's 100 Alphabets, 1941. First published in Signs of the Times magazine, July 1933.
Script lettering evolved stylistically through the twentieth century with changing fashions. Midcentury scripts lend their appeal to some of New York's best old neon signs. They have a particular ability to evoke the spirit of their time, like the stylized emblems on automobiles of the same period, or the jaunty signature of any given mystery challenger signing in on the quiz show "What's My Line."
TOP: Midcentury scripts scoped out at the 2011 Rhinebeck Car Show (T.Rinaldi); BOTTOM: Bette Davis signing in on "What's My Line."
In some cases, as at Long Island City's landmark Pepsi-Cola spectacular, the sign faithfully reproduces a logotype designed previously by others. But in most examples, the lettering is the original work of sign painters in a neon shop's layout department.
Some New York signs that play the contrast between script and block letters. (T.Rinaldi)
Very often, sign makers played the contrast between an elegant script and matter-of-fact block letters. This practice seems to have peaked in the 1950s. Typically, the signs use script for the owner's name, as though the sign was a personalized invitation. "Before the advent of modern logo design, scripts gave the illusion that the business name was a signature," write Heller and Fili: "They made the impersonal personal."
Joe Abbracciamento, 6296 Woodhaven Boulevard, Queens / New York Neon, c. 1949* (alterations by Artistic Neon, c. 1998)
Bernard F. Dowd Funeral Home, 16520 Hillside Avenue, Queens / Grauer Sign Co., c. 1955 (alterations by Grauer Sign Co. 1982)
Murray’s Sturgeon, 2429 Broadway / c. 1950
Harold’s Prescriptions, 2272 McDonald Avenue, Brooklyn / Super Neon Lights, Inc., c. 1946*
Holiday Motel, 2291 New England Thruway, Bronx / c. 1965*
40 West 55th Liquors, 40 West 55th Street, Manhattan
Radio City Music Hall, 1260 Sixth Avenue, Manhattan / United Signs Corp., 1932 (alterations, c. 1940)
From the film Dames (1934), by way of the Movie Title Stills Collection.
* = Probable date based on records at the New York City Department of Buildings.
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