SIGNAGE
Roy’s famous “boomerang” logo: using an identifiable shape to make the sign memorable.
HERALDRY Applied imagery, symbols and logos are used to identify at a long distance. Typography can play an important role with this.
INFORMATION Primary information is larger than secondary information, with more specific information becoming smaller.
Tall, sans serif type is used for a modern style.
The sign is separate from the building, with this sign being the only signage it employs as a large, separate entity.
SIGNAGE The copyright owner (the individual or collective who authored the work) continues to own copyright rights infinitely. Copyright continues after the lifespan of the author and the creation itself (if the building is to be demolished, etc.) without an expiration date. In this respect, the copyright shall follow the original name of the work (in the case that the building or work is repurposed). Adaptations of this work may be shared, as long as others share alike. Commerical uses of the work are not permitted.
This work is a derivative of the study of the physiognomy of a typical casino sign in Learning from Las Vegas, using another sign from Roy’s in the place of the Stardust sign.
AUTHOR OF ORIGINAL
This analysis shows the strategy for signage in roadside attractions, using the sign to convey the most relevant, general information quickly to those driving past. These signs use a billboard approach for the roadside gas station, restaurant or motel.
SOURCE
Robert Venturi, Denise Scott Brown, Steven Izenour Learning from Las Vegas
A wide, heavyset type is used for the letters on the donut, making it clearly visible to those potentially seeing it from as far as the interchange.
SIGNAGE
The donut sign itself is larger than the building space, giving prominence to the sign and advertisement of the product: donuts.
BUILDING
The sign is raised from the building, as separate, but resting above the sign, supported by stands.
SIGNAGE RANDY’S DONUTS The copyright owner (the individual or collective who authored the work) continues to own copyright rights infinitely. Copyright continues after the lifespan of the author and the creation itself (if the building is to be demolished, etc.) without an expiration date. In this respect, the copyright shall follow the original name of the work (in the case that the building or work is repurposed). Adaptations of this work may be shared, as long as others share alike. Commerical uses of the work are not permitted.
This work is a derivative from photos of Randy’s Donuts.
AUTHOR OF ORIGINAL
Randy’s Donuts uses signage in the “duck” way, as discussed by Robert Venturi in Learning from Las Vegas. This gives it distinction from the “decorated shed” that is more common. By using the shape of the donut itself for the sign and by giving it dominance over the building, the building is visually prominent from the adjacent highway intersection.
Inglewood, CA
LOCATION DATE
1953
TYPE
Drive-in bakery
CONCEPTS
Henry J. Goodwin
Duck, product mimicry
The sign is lit up at night, giving prominence to this part of the roof, which is lofted up at an angle.
A flowy, cursive-style type is used for the sign, giving the impression of a classic style. The sign has its own support from a piece that is attached to the roof, but it is clearly identifiable as part of the roof.
The roof aids the sign in gathering attention from far away as a large jet-inspired wing, with the sign at the front. The front of the indoor portion of the restaurant is left plain as glass panes, leaving the advertising to the sign above the roof.
SIGNAGE TINY NAYLOR’S The copyright owner (the individual or collective who authored the work) continues to own copyright rights infinitely. Copyright continues after the lifespan of the author and the creation itself (if the building is to be demolished, etc.) without an expiration date. In this respect, the copyright shall follow the original name of the work (in the case that the building or work is repurposed). Adaptations of this work may be shared, as long as others share alike. Commerical uses of the work are not permitted.
This work is a derivative from photos of Tiny Naylor’s. Tiny Naylor’s uses signage that is paired with the roof to create a distinct look. It also uses cursive-style type, something that is not common with this Roadside America typology, as they often aim for a more modern look, using sans serif fonts and angular shapes.
AUTHOR OF ORIGINAL LOCATION
Douglas Honnold
Sunset Blvd., Los Angeles, CA
DATE
1949, no longer standing
TYPE
Drive-in restaurant
CONCEPTS
Sign as part of roof
The second style of type is used to distinguish the name of the church, with a modern, narrow feel to it.
Two styles of type are used, but the most prominent is a sans serif, plain style that is used for the changeable lettering on the lower part.
Further utilizing the marquee style, the sign uses a large arrow to point cars in the right direction of the parking lot where the sermon is held.
The information about the time of the sermon is the least important of the hierarchical strategy of the sign to attract passersby.
SIGNAGE DRIVE-IN CHURCH The copyright owner (the individual or collective who authored the work) continues to own copyright rights infinitely. Copyright continues after the lifespan of the author and the creation itself (if the building is to be demolished, etc.) without an expiration date. In this respect, the copyright shall follow the original name of the work (in the case that the building or work is repurposed). Adaptations of this work may be shared, as long as others share alike. Commerical uses of the work are not permitted.
This work is a derivative from a photo of the drive-in church by Joel Yale for LIFE. The fact that this church is a drive-in one is emphasized in this marquee-style sign. Like many other signs of this time period, it uses lights for the prominent wording on the sign (the arrow, “drive-in” and “Neponset” all have lights). The sign is made at a oversized scale to attract the passerby on the road.
AUTHOR OF ORIGINAL LOCATION
Unknown
DATE
1951
TYPE
Drive-in church
CONCEPTS architecture
Joel Yale
Marquee sign, separation from
By using the hot dog shape, the building attracts the attention of car customers from afar, as it is a walk-up stand.
The sign itself features a playful type, connecting with the look of the stand.
The stand only uses a walk-up window to serve customers that park outside in order to leave their car for a moment for a hot dog.
With such a bold, simple hot dog design for the small building, it’s a hard one for potential customers to miss from the road.
SIGNAGE TAIL O’ THE PUP The copyright owner (the individual or collective who authored the work) continues to own copyright rights infinitely. Copyright continues after the lifespan of the author and the creation itself (if the building is to be demolished, etc.) without an expiration date. In this respect, the copyright shall follow the original name of the work (in the case that the building or work is repurposed). Adaptations of this work may be shared, as long as others share alike. Commerical uses of the work are not permitted.
This work is a derivative from photos of Tail o’ the Pup. Tail o’ the Pup, designed by architect Milton Black, is an example of “mimetic” type novelty architecture, as it is a hot dog stand in the shape of a hot dog. The building itself serves as the sign, similar to the way Randy’s Donuts promotes its product. It has been declared a cultural landmark by the city of Los Angeles.
AUTHOR OF ORIGINAL LOCATION
Los Angeles, CA
DATE
1946, moved in 1980s
TYPE
Drive-in bakery
CONCEPTS
Milton Black
Duck, product mimicry
The sign operates as a part of the roof structure, despite its three dimensional nature.
The sign keeps the information very limited with just the name of the restaurant projected upwards. Norm’s counts on its identity as a restaurant and name.
The letters have a unique style: a sans serif one, but with rounded edges that give it a contrast from the sharp angles of the diamond shape.
A painted structural steel column is used for the support of the sign letters.
The building employs these diamond shapes on the roof as well creating cohesion with the style of the sign.
SIGNAGE NORM’S The copyright owner (the individual or collective who authored the work) continues to own copyright rights infinitely. Copyright continues after the lifespan of the author and the creation itself (if the building is to be demolished, etc.) without an expiration date. In this respect, the copyright shall follow the original name of the work (in the case that the building or work is repurposed). Adaptations of this work may be shared, as long as others share alike. Commerical uses of the work are not permitted.
This work is a derivative from photos of Norm’s restaurant. Norm’s utilizes a sign that has individual letters on the diamond shapes, keeping with the style of the diamondshape roof truss. The billboard sign of “Norm’s” is above the roof and part of the roof’s styling, unlike signs that are independent from the building.
AUTHOR OF ORIGINAL LOCATION
Los Angeles, CA
DATE
1954
TYPE
Drive-in restaurant
CONCEPTS
Armet and Davis
Individual lettering, three dimensional billboard connected to roof
The type has curves while not becoming very rounded, giving a unique style to this sign. The use of imagery in combination with the lettering of the sign is rare.
The undulating roof advertises in conjunction with the sign as an identifiable element.
The angle of these steel trusses plays into the sign display, as the angle continues onto the sign, creating contrasting geometries that fit together.
SIGNAGE CAROLINA PINES, JR. #1 The copyright owner (the individual or collective who authored the work) continues to own copyright rights infinitely. Copyright continues after the lifespan of the author and the creation itself (if the building is to be demolished, etc.) without an expiration date. In this respect, the copyright shall follow the original name of the work (in the case that the building or work is repurposed). Adaptations of this work may be shared, as long as others share alike. Commerical uses of the work are not permitted.
This work is a derivative from photos of Carolina Pines, Jr. #1, covered in Alan Hess’ Googie: Fifties Coffee Shop Architecture. Carolina Pines, Jr. #1 serves as an example of the roof and the sign working in conjunction, as there are three evident shapes in this building that advertise it externally. The combination of the strip-scaled signboard with its prominent letters and the undulating wave of the roof all show the bold use of varying geometries in signs at this time.
AUTHOR OF ORIGINAL LOCATION
Los Angeles, CA
DATE
1955
TYPE
Drive-in restaurant
CONCEPTS shapes
Armet and Davis
Undulating roof, three colliding
HERALDRY Applied imagery, symbols and logos are used to identify at a long distance. Typography can play an important role with this.
INFORMATION Primary information is larger than secondary information, with more specific information becoming smaller.
Tall, sans serif type is used for a modern style.
The sign is separate from the building, with this sign being the only signage it employs as a large, separate entity.
SIGNAGE The copyright owner (the individual or collective who authored the work) continues to own copyright rights infinitely. Copyright continues after the lifespan of the author and the creation itself (if the building is to be demolished, etc.) without an expiration date. In this respect, the copyright shall follow the original name of the work (in the case that the building or work is repurposed). Adaptations of this work may be shared, as long as others share alike. Commerical uses of the work are not permitted.
This work is a derivative of the study of the physiognomy of a typical casino sign in Learning from Las Vegas, using another sign from Roy’s in the place of the Stardust sign.
AUTHOR OF ORIGINAL
This analysis shows the strategy for signage in roadside attractions, using the sign to convey the most relevant, general information quickly to those driving past. These signs use a billboard approach for the roadside gas station, restaurant or motel.
SOURCE
Robert Venturi, Denise Scott Brown, Steven Izenour Learning from Las Vegas
A wide, heavyset type is used for the letters on the donut, making it clearly visible to those potentially seeing it from as far as the interchange.
SIGNAGE
The donut sign itself is larger than the building space, giving prominence to the sign and advertisement of the product: donuts.
BUILDING
The sign is raised from the building, as separate, but resting above the sign, supported by stands.
SIGNAGE RANDY’S DONUTS The copyright owner (the individual or collective who authored the work) continues to own copyright rights infinitely. Copyright continues after the lifespan of the author and the creation itself (if the building is to be demolished, etc.) without an expiration date. In this respect, the copyright shall follow the original name of the work (in the case that the building or work is repurposed). Adaptations of this work may be shared, as long as others share alike. Commerical uses of the work are not permitted.
This work is a derivative from photos of Randy’s Donuts.
AUTHOR OF ORIGINAL
Randy’s Donuts uses signage in the “duck” way, as discussed by Robert Venturi in Learning from Las Vegas. This gives it distinction from the “decorated shed” that is more common. By using the shape of the donut itself for the sign and by giving it dominance over the building, the building is visually prominent from the adjacent highway intersection.
Inglewood, CA
LOCATION DATE
1953
TYPE
Drive-in bakery
CONCEPTS
Henry J. Goodwin
Duck, product mimicry
The sign is lit up at night, giving prominence to this part of the roof, which is lofted up at an angle.
A flowy, cursive-style type is used for the sign, giving the impression of a classic style. The sign has its own support from a piece that is attached to the roof, but it is clearly identifiable as part of the roof.
The roof aids the sign in gathering attention from far away as a large jet-inspired wing, with the sign at the front. The front of the indoor portion of the restaurant is left plain as glass panes, leaving the advertising to the sign above the roof.
SIGNAGE TINY NAYLOR’S The copyright owner (the individual or collective who authored the work) continues to own copyright rights infinitely. Copyright continues after the lifespan of the author and the creation itself (if the building is to be demolished, etc.) without an expiration date. In this respect, the copyright shall follow the original name of the work (in the case that the building or work is repurposed). Adaptations of this work may be shared, as long as others share alike. Commerical uses of the work are not permitted.
This work is a derivative from photos of Tiny Naylor’s. Tiny Naylor’s uses signage that is paired with the roof to create a distinct look. It also uses cursive-style type, something that is not common with this Roadside America typology, as they often aim for a more modern look, using sans serif fonts and angular shapes.
AUTHOR OF ORIGINAL LOCATION
Douglas Honnold
Sunset Blvd., Los Angeles, CA
DATE
1949, no longer standing
TYPE
Drive-in restaurant
CONCEPTS
Sign as part of roof
The second style of type is used to distinguish the name of the church, with a modern, narrow feel to it.
Two styles of type are used, but the most prominent is a sans serif, plain style that is used for the changeable lettering on the lower part.
Further utilizing the marquee style, the sign uses a large arrow to point cars in the right direction of the parking lot where the sermon is held.
The information about the time of the sermon is the least important of the hierarchical strategy of the sign to attract passersby.
SIGNAGE DRIVE-IN CHURCH The copyright owner (the individual or collective who authored the work) continues to own copyright rights infinitely. Copyright continues after the lifespan of the author and the creation itself (if the building is to be demolished, etc.) without an expiration date. In this respect, the copyright shall follow the original name of the work (in the case that the building or work is repurposed). Adaptations of this work may be shared, as long as others share alike. Commerical uses of the work are not permitted.
This work is a derivative from a photo of the drive-in church by Joel Yale for LIFE. The fact that this church is a drive-in one is emphasized in this marquee-style sign. Like many other signs of this time period, it uses lights for the prominent wording on the sign (the arrow, “drive-in” and “Neponset” all have lights). The sign is made at a oversized scale to attract the passerby on the road.
AUTHOR OF ORIGINAL LOCATION
Unknown
DATE
1951
TYPE
Drive-in church
CONCEPTS architecture
Joel Yale
Marquee sign, separation from
By using the hot dog shape, the building attracts the attention of car customers from afar, as it is a walk-up stand.
The sign itself features a playful type, connecting with the look of the stand.
The stand only uses a walk-up window to serve customers that park outside in order to leave their car for a moment for a hot dog.
With such a bold, simple hot dog design for the small building, it’s a hard one for potential customers to miss from the road.
SIGNAGE TAIL O’ THE PUP The copyright owner (the individual or collective who authored the work) continues to own copyright rights infinitely. Copyright continues after the lifespan of the author and the creation itself (if the building is to be demolished, etc.) without an expiration date. In this respect, the copyright shall follow the original name of the work (in the case that the building or work is repurposed). Adaptations of this work may be shared, as long as others share alike. Commerical uses of the work are not permitted.
This work is a derivative from photos of Tail o’ the Pup. Tail o’ the Pup, designed by architect Milton Black, is an example of “mimetic” type novelty architecture, as it is a hot dog stand in the shape of a hot dog. The building itself serves as the sign, similar to the way Randy’s Donuts promotes its product. It has been declared a cultural landmark by the city of Los Angeles.
AUTHOR OF ORIGINAL LOCATION
Los Angeles, CA
DATE
1946, moved in 1980s
TYPE
Drive-in bakery
CONCEPTS
Milton Black
Duck, product mimicry
The sign operates as a part of the roof structure, despite its three dimensional nature.
The sign keeps the information very limited with just the name of the restaurant projected upwards. Norm’s counts on its identity as a restaurant and name.
The letters have a unique style: a sans serif one, but with rounded edges that give it a contrast from the sharp angles of the diamond shape.
A painted structural steel column is used for the support of the sign letters.
The building employs these diamond shapes on the roof as well creating cohesion with the style of the sign.
SIGNAGE NORM’S The copyright owner (the individual or collective who authored the work) continues to own copyright rights infinitely. Copyright continues after the lifespan of the author and the creation itself (if the building is to be demolished, etc.) without an expiration date. In this respect, the copyright shall follow the original name of the work (in the case that the building or work is repurposed). Adaptations of this work may be shared, as long as others share alike. Commerical uses of the work are not permitted.
This work is a derivative from photos of Norm’s restaurant. Norm’s utilizes a sign that has individual letters on the diamond shapes, keeping with the style of the diamondshape roof truss. The billboard sign of “Norm’s” is above the roof and part of the roof’s styling, unlike signs that are independent from the building.
AUTHOR OF ORIGINAL LOCATION
Los Angeles, CA
DATE
1954
TYPE
Drive-in restaurant
CONCEPTS
Armet and Davis
Individual lettering, three dimensional billboard connected to roof
The type has curves while not becoming very rounded, giving a unique style to this sign. The use of imagery in combination with the lettering of the sign is rare.
The undulating roof advertises in conjunction with the sign as an identifiable element.
The angle of these steel trusses plays into the sign display, as the angle continues onto the sign, creating contrasting geometries that fit together.
SIGNAGE CAROLINA PINES, JR. #1 The copyright owner (the individual or collective who authored the work) continues to own copyright rights infinitely. Copyright continues after the lifespan of the author and the creation itself (if the building is to be demolished, etc.) without an expiration date. In this respect, the copyright shall follow the original name of the work (in the case that the building or work is repurposed). Adaptations of this work may be shared, as long as others share alike. Commerical uses of the work are not permitted.
This work is a derivative from photos of Carolina Pines, Jr. #1, covered in Alan Hess’ Googie: Fifties Coffee Shop Architecture. Carolina Pines, Jr. #1 serves as an example of the roof and the sign working in conjunction, as there are three evident shapes in this building that advertise it externally. The combination of the strip-scaled signboard with its prominent letters and the undulating wave of the roof all show the bold use of varying geometries in signs at this time.
AUTHOR OF ORIGINAL LOCATION
Los Angeles, CA
DATE
1955
TYPE
Drive-in restaurant
CONCEPTS shapes
Armet and Davis
Undulating roof, three colliding
