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Roadside Route 1

How important are signs? Just say “Red’s Eats” or “Moody’s Diner” to a summer visitor and then sit back and listen.

Driving to Belfast yesterday, I mused, as I often do, on the many Mom-and-Pop businesses along the way. They’re as much a part of the Maine landscape as the rocks and the lobster boats. Their signs are idiosyncratic, old-fashioned and different than in most tourist destinations. Without them, Route 1 would be much less interesting.

Signage, in its most utilitarian form, instructs us. Beyond that, it is a social art form. It decorates, it identifies, and it communicates ideas to passers-by.
“Your house has a name!” my Scottish friend Martha exclaimed when she visited me last summer. Middle-class Americans don’t generally name their houses. Britons do. But our sign has been there since long before we bought this place. It is called Richards Hill after the first owner, from when the surrounding area was farmland. It wasn’t my place to take its nameplate down, even though I have a different business sign at the street.
In fact, many buildings along Route 1 have multiple signs from different periods. These are like layers in an archeological dig. There’s a motel in Lincolnville with a dull 1990s-era street sign. But its office sign is perfect mid-century neon.
In my town (Rockport) business signs must be small, not internally lighted, and conform to a setback. That isn’t true everywhere on Route 1, but it does contribute to the aesthetic of hand-painted, hand-carved signs that prevails here.
Neon, which was introduced in the 1920s and reached its peak in the 1940s, is used sparingly. It’s not permitted in Rockport, but in general it’s expensive, and the tubes break.
Part of the reason signage here is so charming is that Mainers are basically frugal. They don’t change what ain’t broke. Signs last a long time if maintained.
The other part is that big-box stores, by and large, have little presence here. There are some, but they’re not ubiquitous and despoiling, as they are in so many places. The absence of their large, lighted signs is refreshing.
Signs tell us a lot about the people within the businesses they advertise. There are antique shops on Route 1 that are barely more than a rotating flea market. Others are quite elegant, and their signage is more tasteful.
Signs also reflect personality and background. Here in Maine, they tend toward the ‘colonial’, which speaks both to their mid-century vintage and the predominant WASP culture.
How important are signs? Just say “Red’s Eats” or “Moody’s Diner” to a summer visitor and then listen as they start bubbling over. Signs are part of a place’s cultural heritage and its community memory. They are landmarks, sometimes more important than the buildings they mark. They’re individual, clever, and evocative. That’s art, folks.

Asian with a twist

Carpentry with one's brother involves lots of second-guessing. (Photo by Sandy Quang)

Carpentry with one’s brother involves lots of second-guessing. (Photo by Sandy Quang)
My studio is in a retail area on Route 1, but I’m also less than three miles away from Camden Falls Gallery. To sell from my studio would violate my non-compete agreement.
A few weeks ago, Howard Gallagher, CFG’s owner, told me he thought it would be a good idea for me to keep hours in my studio. That opened the door to a mini-gallery of sorts.
Unfortunately, my studio is too beautiful to convert to a store. It has natural-finish shiplap walls, large sliding glass doors, and radiant heat in the poured concrete floor. I don’t want to damage the woodwork, and I don’t want permanent display walls. These are almost insurmountable limitations in designing a display system.
Practicing my "open" sign.

Somehow, my “open” sign looks backwards.
For those few areas where there are uninterrupted walls, I ordered a STAS cliprail system. This will let me rearrange paintings without constantly pounding nails into the woodwork. There are only about 20 running feet of wall space in the studio however. That means I will need additional display walls. However, I want to take them away when the season ends, so I don’t want to attach them permanently to the room.
I had an idea for the panels, but no way to attach them to the open beams. Then my brother Robert showed up. We toddled down to the lumber yard together. Between us, we figured out how to make a false moulding set off from the beam with spacers. It required just six wood screws set into the beam, and it is solid as a rock.
It will be interesting to see if this works.

It will be interesting to see if this works.
Both of us are decent craftsmen, but neither of us totally trusts the other. I surreptitiously checked his angle measurement on the ceiling. After I set the spacing for the screws, I noticed he came back and double-checked them.
“Measure twice and cut once,” I told my son.
“Measure once and re-check everything your sister does,” my brother told him.
What is particularly painful about this is that I had a set of booth walls that I finally got rid of last December, after having stored them in my garage for years. They served me well, but I just didn’t need them anymore.
The panels hanging in place. They're pegged at the top, and can come down and be stored.

The panels hanging in place. They’re pegged at the top, and can come down and be stored.
We finished before dinner and the panels actually looked better than I expected.
“It looks kind of Asian,” I mused.
“In a Home Depot kind of way,” responded my nephew.
True, but really not that bad.