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THE SIGN BOOK
Lowell Division of Planning and Development
and
Lowell
Historic Preservation
Commission
Lowell Massachusetts
Acknowledgments
This booklet was prepared for the City of Lowell Division of Planning and Develop- ment and the Lowell Historic Preservation Commission by Carrie J. Conklin, Regional Preservation Coordinator of the Ohio Historic Preservation Office. Ms. Conklin researched and wrote the Sign Book under an internship sponsored by the Lowell Historic Preservation Commission and the Environmental Intern Program of the CEIP Fund, Inc., while a graduate student in historic preservation at Cornell University.
The publishers would like to thank the following individuals for their assistance with this handbook. Lowell Historic Preservation Commission: Sarah Peskin, Planning Director (project director, editor) Pamela Chicklis, Development Assistant (illustrations, layout) Charles Parrott, Historical Architect (technical review) Deborah Smith, Intern (illustrations, design)
Lowell Division of Planning and Development:
Tina Spector, Design Planner (technical review) Donald Samowski, Senior Planner (technica! review)
B. Joseph Tully, City Manager John B. Duff, Chairman City of Lowell Lowell Historic Preservation Commission Lowell, MA 01852 U.S. Department of the Interior
204 Middle Street Lowell, MA 01852
December, 1983
Contents
INTRODUCTION
SECTION TWO
APPENDIX
Procedures
What Is A Sign?
When Does The Sign Code Apply? Obtaining A Sign Permit
Special Permits
Historic Districts
Exceptions To The Code
Design Guidelines
Location and Size
Messages and Lettering Styles Color
Illumination
Wall Signs
Projecting Signs and Brackets Display Window Signs Awning Signs
Painted Wall Signs
For More Help
Historical Typefaces Bibliography
Excerpts From The Sign Code
AANA AMN
11 14 15 16 17 21 22 23
24
26
27
28
INTRODUCTION
Signs are one of the most prominent visual elements of a street. If well design- ed, they add interest and variety to building facades and attract customers. On the other hand, signs more than any other single feature can detract from even the most attractive storefront if erected without care.
On January 29, 1980 the City of Lowell adopted its first comprehensive ordinance regulating the design and use of signs throughout the city. The sign code is part of the zoning ordinance and is ad- ministered according to its provisions. In adopting this ordinance the City Council reaffirmed the importance of adequate protective measures for Lowell’s national- ly recognized historic buildings.
Downtown Lowell is undergoing a dramatic revitalization. Individual store Owners are taking an active part in this ef- fort, realizing that the distinctive architec- ture of their buildings helps to draw peo- ple to their stores.
Merchants are rehabilitating their buildings, peeling off layers of previous ‘‘improvements’’ to reveal early storefront details which lie beneath. Where original storefronts no longer ex- ist, they are being replaced with sensitive- ly designed new materials which are com- patible with the original building facades. New signage is an important part of many of these storefront improvements.
Fairburn Building, circa 1915
City officials and residents share con- cern for an attractive downtown environ- ment. The Lowell sign code is an outgrowth of this concern. The code does not suggest the removal of all signs from downtown Lowell, nor does it limit mer- chants and building owners to one ‘‘cor- rect’’ type of sign. The regulations are primarily concerned with governing the height, size, and number of business signs in an effort to eliminate the visual clutter and inefficiency resulting from uncon- trolled signage.
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Concern for size alone does not guarantee an attractive sign. To design a good sign you must carefully consider location and size, shapes and materials, colors and lettering styles.
This booklet was prepared to help pro- perty Owners with the new code. It is hoped that the information presented here will enable you to design and put up the best possible sign for your building with the least amount of trouble or delay.
Collection of Helen Barr
The booklet is divided into three sec- tions. Section One describes regulations contained in the Lowell sign code and briefly outlines the sign permit applica- tion process. Section Two offers design guidelines for creating signs that will both enhance the image of your business and be compatible with your building and the surrounding street environment. Section Three is an appendix containing addi- tional technical information and sources of further assistance.
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SECTION ONE: Procedures What Is A Sign?
Most people think of a sign as a board with letters spelling out the name of a business and perhaps the product or ser- vice which it sells. However, according to the sign code which is part of the Lowell zoning code, a sign may be many things. It defines a ‘‘sign’’ as:
..a structure which consists of a device, light, letter, word, model, banner, pennant, trade flag, logo, in- signia, Or representation which advertises, directs, or announces a use conducted, goods, products, ser- vices or facilities available...
An example of a well designed neon sign.
Signage can be an integral part of a building structure. This sign is in keeping with the period of the building.
When Does the Sign Code Apply?
All new signs within the City of Lowell must comply with sign code regulations. The code is enforced by the Building Department. You must obtain a permit to erect a sign.
Special care should be used if an ex- isting sign is to be changed, especially if it was put up prior to the sign code and does
A typical late 19th century projecting sign and bracket.
not conform to its requirements (a non- conforming sign as defined in the code).
If a sign is enlarged, it must comply with the code. If it is repaired or changed in any other way and the costs to do this exceed 35% of replacing the sign, it must be replaced and all code requirements must be followed.
Obtaining A Sign Permit
Your first step is to check with the Building Department at City Hall. There you can find out about fees and specific requirements for signs at your location.
If you have a good sketch of your pro- posed sign showing dimensions, colors, materials, and how it will be attached to the building, and provided that all code requirements are met, you may be able to obtain your permit on the spot.
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A sign proposal package. .
Special Permits
Certain types of signs (illuminated, pro- jecting, painted wall, roof) require a special permit from the Board of Appeals. All new signs in the downtown business or B-3 zone must also be approved under the special permit process.
When a special permit is required you will need to prepare a sign proposal package for review by the Division of Planning and Development (DPD). This package should include:
-A drawing of the proposed sign showing dimensions, and describing materials, lettering (indicating if raised, flat or incised), colors, il- lumination, and support systems.
-A drawing of the building facade or site plan showing the location of the proposed sign.
-A cross-section of the building facade showing how the sign will be attached.
DPD staff will review your proposal and prepare a written recommendation for approval or denial to the Board of Ap- peals. You are welcome to consult with the staff during the review process. They can help make sure the proposed sign 1s appropriate to your building and will meet the code requirements.
The Board of Appeals will review your sign proposal when it is complete. You should plan to attend the meeting and public hearing at which your application is to be discussed. The Building Department will notify you of the meeting time and location.
Historic Districts
Lowell is nationally recognized as the birthplace of the American Industrial Revolution. Many mills, houses and com- mercial buildings remain from the city’s heyday as a prosperous manufacturing center. This has brought a great deal of attention to Lowell with the newly created State and National historic parks drawing vistors from thoughout the country.
At this writing, the city boasts five Na- tional Register Districts, one National Historic Landmark District and an um- brella Historic Preservation District en- compassing most of the structures associated with the 19th century _ in- dustrial city. The Lowell Historic Preser- vation Commission (LHPC) is charged with protecting the buildings in this area which includes the National Park. While all these districts recognize important buildings and provide opportunities for certain federal tax incentives and other benefits, they do not directly affect the local building permit process.
Local historic districts are the only ones that require a review before any building alterations may take place. (The national districts require reviews before any federal funds are to be used in a project). There are currently two local districts; their boundaries and sign requirements are described in the materials inserted in this book.
In an effort to clarify and improve the approval process for historic buildings, a major revision of local ordinances is now in process. The update service described in the inserts will enable you to keep in- formed of any changes as they take place. In the interim, National and State Park and LHPC staff meet regularly with DPD to review sign proposals.
Exceptions to the Code
Should you desire to erect a sign that does not conform to the dimensional stan- dards spelled out in the code, you can bring your case to the Board of Appeals for a variance. If you feel you need the variance to accommodate special architec- tural characteristics of your building, you should be prepared to show why.
A sign permit may be obtained when all code requirements have been met.
_ 8s SECTION TWO: _ Design Guidelines
Location and Size
Sign location and size are important study your storefront. Nineteenth century aspects of good sign design. When select- commercial buildings, which predominate ing a design, the most important thing to in Lowell, were almost always designed remember is that bigger is not necessarily with ‘‘sign space’’ as an integral part of better. Although a sign must be clearly the street front facade. Most often this visible, it should never dominate the Sign space is the horizontal lintel which building facade nor obscure its architec- stretches across the top of a storefront tural details. within a commercial block. Sign lettering
can either be painted or applied directly
The first step in determining an ap- on the lintel or on sign boards which are propriate size and location for a sign is to attached to the lintel.
Lowell Historical Society
This historical sign fits the lintel of the building; it does not obscure any of the architectural features.
Late 19th century storefronts display a great variety of sign types.
A glance at historical photos will show that signage was not limited to the lintel area. Projecting signs, window signs, and signs On awnings are just a few of the possible locations for signage.
Regardless of the sign location you choose, it is important to keep the follow- ing design guidelines in mind:
-Avoid overly large signs. Remember that unlike modern highway strip development, downtown Lowell’s buildings and streets were built at a human scale, oriented to pedestrians, not cars. Consequently it is not necessary to depend on overly large signs to attract customers.
-Do not obscure or destroy architec- tural details. Stone arches, glass transom panels, and decorative brickwork are just a few of the features found on many of Lowell’s downtown buildings which reflect a quality of workmanship difficult to duplicate today. This detailing greatly enhances our downtown character and atmosphere.
Lowell Suburban Directory, 1896-7
Most important is not to obscure the architectural details of your building.
_-Coordinate the placement of signage
on adjacent storefronts, especially those to be placed on the same building. Placing a sign higher or lower than adjacent signs may not increase readability but instead create visual confusion. However, if the adjoining signs are overscaled or badly positioned, the only solution is to do what is best for your storefront and wait for neighboring merchants to follow your example.
10
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It is also necessary to adhere to the signage area restrictions of the sign code. Basically, the code allows two square feet of signage for each linear foot of building frontage.
Flat projecting signs may not be larger than sixteen square feet. Three dimen- sional object signs can have an area no greater than nine square feet at their largest cross section. For historic buildings downtown, these dimensions should be considered carefully, as far smaller signs will often be more in scale with the facade. Remember, too, that the
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area of all signage is added together before the two square foot formula is ap- plied. Thus a large projecting sign will reduce the amount of area left for other signs.
On corner buildings the signage area allowed on each street facade is calculated separately. The total allowed signage area may be split between several signs. The area of each sign is calculated as the largest rectangle or other geometric shape necessary to surround all lettering, word- ing, and accompanying designs and sym- bols, together with the background signboard.
Sign area is calculated by multiplying the maximum width by the maximum height, (Area equals w x h). It there is no signboard, enclose all letters and symbols in a rectangle and compute its area.
Messages and Lettering Styles
Messages
Signage constructed of compatible materials and in scale with the architec- ture of your building can increase the at- tractiveness of your storefront. The ultimate success of your signage scheme will depend, however, on whether or not people can tell at a short glance where your business is located and what pro- ducts or services you sell. A well designed sign will display that information in a sim- ple and legible form.
A sign should identify the name, func- tion, and perhaps the address of a business. This information can be con- veyed through a number of visual devices: words, pictures, names, symbols, and logos.
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The most important point to remember when designing your sign’s message is to keep it simple. Too many pieces of infor- mation will only clutter the sign and con- fuse the viewer. The best signs incor- porate the fewest number of words possi- ble and perhaps a picture or symbol to create a strong visual identity for your business which is easily understood in just a glance. Avoid listing every product sold. The code limits the space which may be occupied by trademarks to 10% of the sign area.
Before
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Before
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Existing and proposed signs
12
Lettering: Styles
The curved lettering visible on this late 19th century sign was typical of the period.
Lettering is also an important factor in successful sign design. Well chosen, pro- perly spaced lettering can enhance the visual image of your sign’s message and make it more readable. In general, it is best to avoid overly ornate lettering, especially on lintel signs. Simple, relative- ly plain styles are easier to read and ap- pear less cluttered. It is also best to limit the number of lettering styles used on any One sign to two or at the most three.
Historic photos and turn of the century sign painter’s manuals offer some ideas on lettering styles and materials which are appropriate for signs on 19th and early 20th century commercial buildings. Signs
ABCD
Egyptian Block Octagon (alphabet in Appendix).
ABCD
Octagon Full Block (alphabet in Appendix).
visible on the earliest photos of downtown Lowell show flush painted capital letters in simple, sans-serif styles. The examples of Egyptian Block Octagon and Octagon Full Block illustrated here are typical of early lettering styles.
Late 19th century painted signs used more graceful serif lettering styles. The Boston Straight Roman and _ Boston Round Full Block styles illustrated closely resemble lettering used in Lowell during that period. These and other historic type styles remain available today. A number of contemporary lettering styles are also available which can be compatible with historic buildings.
ABCD
Boston Straight Roman (Caslon is modern equivalent) .
ABCD
Boston Round Full Block (Clarendon is modern equivalent) .
U. of Lowell
In addition to two-color schemes used on less expensive signs, painters used gold leaf and contrasting areas of shade and shadow to create the illusion of letters projecting from flat signboards. Letter- ing was often arranged in graceful curves and combined with painted borders and scrolled ornament to form delicately balanced but bold signs. Fancier stores at this time used raised wooden letters in similar serif styles. Painted or more often gold leafed, these letters were attached directly to the lintel area or a painted or smalted* signboard.
Rounded and serif letters, carved and painted, predominated in Lowell’s signs until well into the early 20th century. Near the end of this period, a rather heavy rais- ed and gold leafed script style of letters became quite popular and was used by many of Lowell’s downtown stores. The script letters were attached to signboards painted in rich tones of red, blue, and green.
A lintel sign with appropriate letter size and spacing.
*smalted: dark colored crushed glass
Lettering: Size
Once the message and lettering styles have been chosen it is necessary to decide on the size of letters. Signs in the downtown area should be oriented toward pedestrians and slow-moving automobile traffic. It is not necessary to have overly large letters to make your sign’s message visible.
As a general rule, the maximum height of a capital letter should be three-fourths of the height of the sign background. For most lintel signs, eight to fifteen inch let- ters are sufficiently large and most ap- propriate. Careful spacing of letters and words is also important in determining the legibility of your sign. Leave adequate space between letters, words, and lines of lettering. To avoid a cluttered ap- pearance, no more than 60% of the total sign area should be occupied by lettering.
14
Color
Color selection is one of the most crucial aspects of successful sign design for it is the contrast in color between let- tering and background which makes sign easy to read. Because a sign should complement rather than clash with its sur- roundings, sign colors must also be com- patible with the building facade and adja- cent signs.
Generally speaking, no more than two or three colors (plus black, white or gold) should be used on any individual sign. Too many different colors or colors which are too similar in tone make a sign dif- ficult to read. Dark backgrounds with light letters are often the most successful signs and have been the traditional prac- tice in Lowell throughout the years. However, other color combinations can also be effective.
Historically, the earliest signs had black backgrounds with white or light colored painted letters. Later, gold leaf often replaced the painted lettering and in addi- tion to black backgrounds store owners selected painted or smalted backgrounds in deep tones of loden green, royal blue, maroon and purple.
Early sign maker’s manuals are filled with contrasting but simple color com- binations for painted signs. Letters were often outlined and shaded to give them a three-dimensional appearance.
This example
This technique This is an
gives depth to example of shows an the lettering. an outlined outlined letter letter with with depth
depth added. and shadow.
For painted lettering on windows, an historical color scheme which can still be very attractive includes gold leaf lettering, green or white outline and black depth or shadow.
chocolate brown background gold leaf letters
red line
black shadow depth in white shaded with green
Six different colors could be used to create this successful sign.
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Early city directories displayed many advertisements for sign painters.
For other painted signs, whether wall or projecting or any other sign mentioned in this handbook, the following color com- binations are recommended:
Paint Accent or Smalts Letters Colors Background Black Gold leaf, white, | White, red, red, blue, green, _— green, gold cream, straw leaf, blue, yellow dark yellow Navy White, red Black, white, blue straw yellow, gold leaf Gray Navy blue, black White, red Emerald Golf leaf, White, gold green white, red leaf, black Brown Gold leaf, Red, white light blue Cream Navy blue, red Black Red Gold leaf, white, Black
mustard yellow
Mustard Navy blue, red Red, black yellow
Early sign maker’s manuals are filled with distinctive color schemes for painted letter signs. The color combinations listed here were adapted from several of these books. See the Appendix of this book for detailed references. Most of the publica- tions listed are available at the Lowell Historic Preservation Commission of- fices.
Illumination
Illuminated signs are permitted, with restrictions, under the sign code. Exter- nal illumination must be provided by a continuous light source that is installed to prevent direct light from shining onto the street or adjacent properties. Flashing or moving lights are not permitted.
The light source you select may be in- candescent or fluorescent but should emit white light. Spot, track, overhang, or wall lamps are all acceptable light sources. Avoid high intensity light sources, as they often produce excessive glare.
In general, the use of internally lit signs (backlit plastic) is discouraged. These signs are often stock designs which are in- compatible with Lowell’s historic com- mercial buildings. The code does recognize that well designed neon signs can be attractive and compatible with cer- tain storefronts, especially those designed in the 1930’s and 1940’s.
All internally lit signs require a Special Permit.
15
16
Wall Signs
Historically, the most common sign type in Lowell was the lintel sign. Placed directly on or just above the storefront lintel, these early 19th century wall signs were typically narrow rectangles of painted or cloth-covered wood, surround- ed with a plain molding. The signs includ- ed the name and street address of the firm painted in light block letters on a dark background.
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Vertical and horizontal historical wall signs.
Later lintel signs were more ornate. In addition to wood, japanned* metal and back-painted glass were sometimes used. Sign colors became brighter and the backgrounds were often coated with col- ored and sand smalts for a rich, velvety effect. Often times a second, narrower sign board was attached on top of the first. The second sign was usually trimmed with carved end brackets or turned spindle work. Other signs retained the rectangular shape but were divided into smaller panels with half-round or rope moldings or with painted or gold leafed borders. Stenciled motifs were popular and were often found at the corners of signs. These stenciled decorations created the effect of curved or fancy cut edges on the corners or ends of rectangular signboards.
*japanned: glossy black varnish
Other wall signs were used on the ground floor level to advertise specific products sold within the stores or to iden- tify businesses located on the upper floors. Not limited to lintels, these signs had a variety of shapes and sizes and were placed in several locations on the facade. They were often made of metal which was curved to fit around entrance piers. Late 19th century wall signs combined several sizes and styles of painted or gold leafed lettering, typically arranged in subtly balanced curves.
Regardless of the type of wall sign you choose, it will be necessary to adhere to the following requirements of the Sign Code unless a variance is obtained from the Board of Appeals:
-A wall sign cannot project more than 15 inches from the building surface.
-Signs can be no larger than 2 square feet for each foot of building face parallel to the street.
-The sign cannot obscure architec- tural details of the building (such as cornices, windows, arches, tran- soms) to which it is attached.
-A wall sign cannot extend above the lowest point of the roof, nor beyond the ends of the wall to which it is at- tached.
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obscure architectural details
Projecting Signs and Brackets
Hung perpendicular to the building face, projecting signs are highly visible and can be an extremely effective means of identifying your business. Because of their high visibility, however, projecting signs have perhaps the greatest potential to enhance or detract from the character of the downtown streetscape. Well- designed signs, scaled for pedestrians and symbolizing the services offered, can add color and bring customers to a business.
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The earliest projecting signs in Lowell used pictures and symbols to illustrate and readily identify the product or service which the business sold. These symbol signs were important to many of the city’s first residents who did not read English. For example, hardware and cutlery were sold under the sign of the andiron, im- ported oils and liquors were sold at the sign of the whale. Nearly every druggist used a gold leafed mortar and pestle to advertise his cures and one Lowell dentist even hung a carved molar above his office door.
Later, projecting signs combined words and symbols on hanging wooden or metal signboards. Although some signs were rectangular, curved and oval shapes were especially popular during the late 19th century. Because these signs were hung closer to eye level, more decorative styles of lettering could be used. The lines of let- tering were often curved to harmonize with the signboard’s shape.
A very common historical projecting sign: an oval shape with ribbon-shaped edges and a very simple bracket
The Lowell Magazine
17
If you are considering a projecting sign, and flat or raised lettering. Avoid
it is important to keep the following colonial ‘‘tavern sign’’ shapes with points in mind: stained wood and carved lettering as they are inappropriate on_ later -If you have an early commercial (after 1850) buildings. building (pre-1850), consider using a 3-D symbol. It is not necessary to -Avoid placing too many projecting use an historical one; why not signs on one building. For max- develop an imaginative contem- imum visibility, sign experts recom- porary representation of your mend a minimum of 50 feet between business activity? projecting signs. It is better to have a few outstanding projecting signs -If you have a late 19th or early 20th on each block to draw customer at- century building, stick to geometric tention rather than a cluster of signs shapes with flat or carved symbols which compete against each other.
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Variations of oval shapes
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Variations of rectangular shapes
19
It is also important to consider the design of the bracket supporting your projecting sign. Historically, projecting brackets in Lowell were extremely plain. A most common type consisted of a piece of iron rod with a pointed finial, sup- ported by two pieces of chain or rod in tripod fashion. More decorative brackets may be used but they should complement, not overwhelm, their signs. Avoid an abundance of decorative wrought iron curves; the lines of the brackets should harmonize with the shape of the sign. The most important feature of a_ bracket should be its ability to hold up the sign.
To avoid damaging brick and stonework, brackets should be designed so that they can be bolted into masonry joints when possible. Examples of sign brackets from early sign making manuals are shown in the illustrations.
....iron rod with a pointed finial....
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Bracket and rectangular sign Bracket which closely follows Very effective use of top and sign’s oval shape bottom bracket for square sign
Regardless of the sign and bracket -On a multi-storied building, the sign
design you choose, it will be necessary to should be suspended between the comply with the legal requirements of the bottom of the second story window sign code. The code restrictions require sills and the top of the doors or win- that: dows of the first story. On a one- story building, the top of the sign -The area of each face of a flat pro- should be suspended in line with the jecting sign cannot exceed 16 square lowest point of the roof. feet. The area will be calculated as | the smallest rectangle or other -The bottom of the sign should main- geometric shape that will enclose the tain at least a ten foot pedestrian nf agnin and any attached sym- clearance from the sidewalk level. ols. -All signs which project over a public -The sign must be hung at a 90° angle right of way require a license from from the face of the building. It the City Council. should be pinned at least 6 inches away from the wall for best visibili- -Three dimensional object signs can- ty but cannot project beyond a ver- not exceed 9 square feet at their tical plane set 2 feet inside the curb largest cross section. line.
2 ft. minimum from street line i
16 sq. ft. max. per face
6 in. from building (recommended)
A contemporary projecting sign
10 ft. minimum pedestrian clearance
sidewalk
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street
Lowell-A City of Spindles, 1900
A representation of an early projecting symbol sign
Display Window Signs
When considering types of signs, don’t forget your windows. Window graphics were important in the past and can be us- ed today as an attractive feature which reinforces your business identity. Window signs are particularly effective when awn- ings block the lintel sign from view.
Window signs can be opaque, translu- cent, or transparent signboards hung from the window frame. Lettering and designs can also be applied directly to the glass. Applied lettering is usually prefer- red because it does not significantly block the view into or out of the storefront. Let- tering can either be painted, etched, or fora richer effect, gold leafed.
Gold leaf work is done with extremely thin sheets of gold which are applied to the glass with a gelatin and water size and backed up with paint and varnish for per- manence. (Lowell is fortunate to still have local sign painters who are proficient in the art of making gold leaf window signs at surprisingly reasonable cost.) By vary- ing the type of gold used and the ground to which it is applied, they are able to pro- duce a wide variety of colors and textures.
Modern and historical window lettering
Window graphics can range from a let- tered name to a more elaborate graphic image. Simple letters combined with an imaginative window display can be the only signage your business requires. Because of the relative closeness of the sign to the viewer, more ornate free flow- ing lettering styles may be worth the ef- fort. Late 19th century shop windows in Lowell were often enhanced by gracefully curved lines of decorative lettering.
Lettering on upper floor windows can also enhance the facade of a building.
Under the provisions of the Sign Code, window signs are limited to 30% of the total glass area of the storefront and must be included in the total sign area allowed.
Many shop owners use temporary, hand-lettered window signs which are unattractive and clutter the storefront. Although these signs are allowed by the sign code, they may not cover more than 30% of the window area and are not allowed to remain in place for longer than 30 days.
BILLS
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Designs for early window signs
21
22
Awning Signs
Historically appropriate on most com- mercial buildings in Lowell, operable awnings serve both functional and decorative needs. They were common in early Lowell where shop windows faced the sun. Awnings are primarily intended to protect shoppers and window displays from intense sunlight but can also give protection from inclement weather. A distinctive color or your business name or logo on the awning valance can further enhance your storefront.
To select an awning design which is ap- propriate to the architecture of your building it is important to consider color and material selection, as well as adhere to the legal requirements of the code. Canvas is the best awning material. Available in a wide variety of colors and striped patterns, it is a very durable fabric. Glossy or leatherette finished vinyls and fixed in place aluminum or rigid plastic awnings are not compatible with historic storefronts and should be avoided. Select an awning color or striped pattern which complements your
Historical awning designs are still appropriate today.
building’s facade. Historically, striped awnings combining two or three colors were most popular in downtown Lowell. Awnings should also be coordinated for color, pattern and height with other near- by awnings.
Historic photos show the valance area was often decorated with the name and street number of the business in tasteful lettering. This type of sign can be very distinctive. However, it is still necessary to comply with the requirements of the code which state that:
-Awning signs be painted or attached flat against the surface of the awn- ing. They cannot extend beyond the ends of the awning or be attached to its underside.
-Letters or numbers included in the awning sign cannot exceed ten in- ches in height and the bottom edge of the awning must maintain a minimum clearance of seven feet above sidewalk level.
Painted Wall Signs
Another common late 19th century sign type was the painted wall sign. A number of these still exist on commercial and mill buildings in Lowell and have an attractive graphic quality seldom matched by modern billboards. Should your building have such a sign, you may want to con- sider preserving it by applying a clear sealer or even restoring its original colors.
New painted wall signs may also be ap- plied to buildings in the city with the award of a special permit.
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ec. oe ee top ape maps st a i . oA oy pe, os ok Somme nee om mre. ae ge ane aeae eeeeeIN <aey om Pos aie — * a See eee : = ~ = 3 & mee. hae “28 oe ag * ea sagas Riegel eee So ene san PRON eet aie Sapensape
Painted wall sign displaying a very typical historical block
styled letter, with outline and shadow, should be preserved.
Although the painted wall sign is large, it is well scaled to the blank brick wall and is at pedestrian level.
U. of Lowell
Merrimack and Palmer Streets, circa 1892
23
We hope that the material contained in this handbook has been both interesting and useful to you. The illustrations were chosen to stimulate your imagination and give you a sense of how earlier Lowellians dealt with the familiar problems of attrac- ting customers and giving their stores a distinctive look.
Designing a good sign need not be dif- ficult if you keep a few things in mind. Remember to take a good hard look at your storefront and think about your overall business image before starting to design your sign. If your building has a history, try to find out how its early owners handled signage -- chances are the Original architect or builder set aside a space for this purpose. Familiarize yourself with the basic permit procedures and guidelines for your part of the city. And above all, don’t be afraid to ask for help from the groups listed here, all of whom would be more than happy to give you a hand with research, design or steer- ing you to the right person to answer your questions.
24 For More Help
Division of Planning and Development J.F.K. Civic Center
Lowell, Massachusetts 01852
454-8821 - Extension 404
Contact Person: Tina Spector
Lowell Historic Preservation Commission 204 Middle Street
Lowell, Massachusetts 01852
458-7653
Contact Person: Pam Chicklis
Division of Technical and Professional Services
Lowell National Historical Park
171 Merrimack Street
Lowell, Massachusetts 01852
459-1033
Contact Person: Colette Joyce
H?
BE cc
mi ‘ah aang, rat}
Ear caeameantl A
Merrimack and Shattuck Streets, circa 1893
ane ® ae Att asi. 8
javaceen, ft? ¥ yf 5 SAReeg #
INGER sete 66
APPENDIX
2. minimum from street line
:
! i al a '
6 in. from building Sf maximum heght (recommended) (recommended) ! | ' 16 «q@ ft masumum per face
U. of Lowell
25
gyptian Block Octagon:
ABCDEFGHI JALMNOPQR STUVWXYZ
Bibliography
Early Sign Painter’s Manuals
l. hes
Boyce, A.P. The Art of Lettering and Sign Painter’s Manual. Boston: 1878.
Hasluck, Paul N., ed. Glass Writing Embossing and Fascia Work. Philadelphia: David McKay, 1914.
Idarius, Peter. The Standard American Drawing and Lettering Book. Chicago: Land and Lee, Publishers, 1912.
International Textbook Company. Sign and Banner Making- Practical Design and Ornament. Scranton: International Textbook Company, 1906.
Koller, E.L. Sign Designing- Color in Signs. Scranton: International Textbook Com- pany, 1935.
Matthews, E.C. How to Paint Signs and Sho Cards. New York: J.S. Ogilvie Publishing Company, 1920.
Ticket Writing and Sign Painting. London: Cassell and Company, Ltd., 1916.
Contemporary Sign Design Guidelines
l. i
The Boston Sign Code. Boston Redevelopment Authority, Boston, Massachusetts.
The Building Book. City of Lowell (Massachusetts) Division of Planning and Development, November, 1978.
Ewald, William R., Jr. Street Graphics. Washington: The American Society of Landscape Architects Foundation, 1971.
Guide to Environmental Design Review for Commercial Facade Revitalization. Town of Brookline (Massachusetts) Planning Department, 1977.
Mintz, Norman. ‘‘A Practical Guide to Storefront Rehabilitation,’’ Technical Leaflet No. 2. Preservation League of New York, 1977.
Signs: A guide for Retail Stores in Quincy. Quincy (Massachusetts) Department of Planning and Community Development, 1976.
Signs in Brookline. Town of Brookline (Massachusetts) Planning Department, June, 1974.
Surroundings: Ithaca, New York. City of Ithaca (New York) Department of Plan - ning and Development, March, 1978.
Excerpts From The Sign Code
28
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29
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30
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*“MOPUTM B MOTAQ IaCwaw IJOTI9}xa TejUOZTIOY ayy - TITS
*"UudsIay} P3yONpuOS AYTATIIE 3yy IO aTes Ioy astpueyorow ay} ‘pazeIOT ST YF YDTYUM LO SastwaId ayy ButTAdna90 Uosrad ayy ATUO saiedTpUT IO sast3Jaape YOTYM adTAap Butstyiaape Iayjo rio ubtIS - Sastwalg ug “LTS
*“sToqwAS pue S1ajjaT 3auz [Te sessedwooua YOTYM adeys JayjO 10 aTOhuez,IaI ysatTrTews au JO yeu aq 0} palaptsuoo eq TTeYS eale ayy ‘MOpUTM IO [Tem ‘BuTpTtIng ‘aoejyIns e uo payuTed 10 03 paysezze stoqwAs IO SiazjaT TeNprtAtput yo Gutystsuod ubrs e 04 (9)
31
*saitm ButyauUOD pasodxs ou aq ysnw azayu, “4
“paMOTTS 3q TTeYUS jUda}}TWIa4UT IO pazewtue ‘Hutaow ‘Hutysety ST }eY} UOTJEUTWNTTT JO SWwIOJ ON 3
*Ajtioyyny Gutjues) jywIag TeTIads ay Aq }JJWIag TeTIadsS e aItnbarl [T{Ttm subts payeutwnT{TT AT Teusezul *p
* (37180 1d39900 Juv SdWW1 T1VM YO ‘ONWH-YSAO ‘OWYL ‘10dS) *Aqsadoid quacefpe IO yearys Aue ojuo ButuTys wory yyBTT yo~artp yUuaAaId [TTM YOTYM JauUeW e UT PaTTeJSUT pue YOaITpUT ST yey} ‘yUuBTT Teusla}xa snonutjUuOD e aq ysnW UOTIEUTWNTTT TIWv °9
"apog TeOTIJOATZ 33e4S szJasnyoesseW ay} JO S}UaWaItNbaI ey} 0} wiOjuOd TTeyus subTS payzeutTwNTTT ATTeOTI}WOeTa TIv ‘q
*Aetdstp 1oop3zno io ubts jo adAj pue azts ‘uot,eD0T 3u3 IOJ STOTPFIE STYY UT YRIOJ JaS SUOTJEPTWTT 3y} UTYITM subTs PSJeUTWNTTT JO uOTIOaIa ay} JOJ PauTeqo aq ysnw SjzyWIag ‘e
*yuTed Juadsaionty Jo ‘tto ‘se6 ‘AjrotijoaTa jo sueaw Aq payzeuTwnT{T ATTeToTytywe st yey, uBts e - ubts payeutwniqTi
*saitM But jOauUOD pasodxsa ou aq ysnw alau, “6
*sTeTIejew aTQTysnquos-uou jo ATaIqjUa payzonijsuod aq TTeys subtIs yons “4
*Aem-jO-3UBTI STTQnd Io Butpttng Aue wory IO 03 ssaiba daly yONIJsGO jOU OF Se OS pajIaIa aq TTeus subts yons ‘a
*su6Ts yons (Z) Om} arey Aew slow IO 3a8a4 (O0E) PeIpuNYy sayy yo abejuoIy © YIM OT Y ‘/Pp
*aperB aaoge aaj (0Z) AqUuaMz yo WYUOBTay e paaoxa you Aew uBts yons yo doy aul °9
*Jaay arenbs (0S) AjusAas paaoxa you TTeys ade, Yyoea yO eale ay} usay3 ‘JOT |3y} UO SasN aIOW IO (¢) daIY aIe |alay, SsaTUN aay aienbs (Q0¢) AjiITUu} peaoxa Jou TTeyS asoey YyoRa Jo earle aul °q
*sa0ey (Z) OM} UBY BIOW OU aAeY TTeUS UBTS YONS ‘e
*ainjzonizs Io Butpttng Aue 03 payoejje YOU puUe UOT pexty e@ ut ubts 6butyioddns-ytas e st - ubts Bbutpueqys sary
*pajuazr io ptos Bbutaq Ayi1adoid 94} UO pauTejUuTew aq Aew suB—ts yons (Z) OMy JO wnwIxew Wy ‘Od
*peyeoot sf uOts 8y2 YOTUM UO AjytadoId ayy ATUO astyIeApe TTeus suBfs yong °*q
*yaay arenbs (9) x}S pasoxa you TTeys subs yons -‘e
*paquar zo ptos Butaq Ajradoid au3 Butstyreape ubys asfwaid-uo ue - suds ,,jUaY 104, JO yaTeS O04,
*I3UMO 3y} JO asuadxa ayz ye sOufptT=ng yo Jojadsul ayy AQ paAowal aq TTeus pazeys pozied awry uTyzFM UBTS pyes sAowal 0} aINT{Tey ‘9
*UOTJINI4SUOI ptes jO uotzatTdwoo ayy Guymorroy skep (ST) vusaqyTy Butpaasxs you puBe UOTJINIYsuOD yO wTlezZUy 9yy I0y ATUO ainzoniys 10 GBuypTTNq ay} vO psauTeyUtTew aq Aew ubys yong ‘q
*yaay arenbs (0Z) Aquamz pasoxa you Aew uUbfs yong ‘e
“UOT JEWIOJUF YUSUT}II9d IayZO pue ‘ssaIppe ‘aweu $,1035eI3UOI ayy Butkyyquapy ub~s astweid jyjyO ue Sf - UdTS 10}39e1}U09
‘pred yuoly pai~nbar ayy yo uydap au yTey-auo UbPUY BUTT 3aaIyS & 02 JaZeau pazeosoT aq Aew Lbys yons ON ‘9
*suBTs yons (¢€) sary} UeY aJOW YUaAe OU UT 3NQ PamwoTTe SJ 3993 (OOT) perpuny yoea Joy UBts auo usayy ‘3aay (ODT) paipuny auo spaadxa VOTINIZIsUuT pyes yo asOejuoOIy yaarjs ay} ssatun ‘psaotte sf Ajradoid yoea Joy ubts uons aug °q
‘pale T@}0} UT 3aay areNbs (OZ) AyUaM} pavoxa you TTeys UBTs yOMG -e
*AytyTyoes ITTQnd Jo ‘vuotTynyT4suT ‘uoTJeztUeBIO aotarias AyyuNuwod e yo yuara yO uoTzeDOT ayy Burtaqriosap pieog qUawaounoUUe IO UTaTING AIOossaa5ze ue = UOTS AIOJDaIIg AyTUNWWOD
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*Iaqqew BuTsTyIaape pajuted IO pajutid yo Aertdstp ayy IOJ pasn st yorum ‘pieog BOutstisaspy roopyng ayy AQ pat{TorquoD ubyS astwatd-yyo ue S~T - piIeCat{{[tg
*QdUBIeSaTO UBTI}Sapad IO} paMoTTe aq ysnw 399y (ZL) UaAaS yO TSaAaT HTEMAPTS |Aoge aodueleaTo whwyuTw y °9
32
"qaay arenbs (9T) Uaa}xTS paaoxa jou TTeYyS adeJ YyoRa ‘7eTJ JI “ke
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*apog ATI T{TaMOT ay} JO 9-¢E UOTIDaS UT pajzeys suoyjetnbay Jaqysog pue ub}~S [eOTIITOd 0} wIOyuOD TTeyS ‘Pp
*pamoTTe Ss} 3OT Jad subys (Z) OM} yO wnwyTxew yy °9 "bale UT 4aaj arenbs (7) Inojy paesoxa you Aew ub}ts yong ‘q
*(mOpUTM e& UF PadeTdstp aq Aew uBTS yons 3zeYy 4daoxa) |sinzoniys Aue 0} paeyoezWw ‘°9
*OTJyeI} peatstw 10 ‘asnyuod ‘4OnN14sqQo ‘UTM alajyIaquyT 0} payedxa aq Aew ATqeuoseal IO [TTM 3T yeYUz JauuPW e YONS UT paqdaI3 ".
*Aem-jo-qubyI Aem-aary e wolj Uaas 3q UBD YT JO |dey BYyQ yeYUY PayenqyTs oS ‘FH
*Aem-jo-yyubt1 Aem-aarj e WOlJ 398) (00S) PaiIpuNYyY aATJ UBY IasSOTD pajes07 ‘¢
*Aem-jo-3ubtI OF Tand e uodn Jo ‘uote aban 139y}O IO 3a13 ‘aduay ‘atod AfT{T4N e 02 payoezWw ‘2
*UOT}JIATS |y} Jaqjye sAep (¢) aaTy paaowsl aq 03 subTS [edT}yTOd JayjO TTe pue sAep (S$) aATy UT suB~TS STYy sAOW|I YsNwW By UOTeEUTWOU Iajjge payeajyap st ajzeptpueg e JF pue Arewtid e alojyaq sAep (ST) uaaqyTJ veU Jat[iea pazoeI3Z =6'*T
you sf pue ‘Arerodway ‘paqyyBttun ‘A1euoy je 4s ST 37 JT 2OTIRSTP asn puetT Aue ut paz}ywiad are sub}s yons ‘e
*ATuo subys Teot3yTTod roop3zno oj Atdde votes sfyuy Uy suOoFJeTNHal ayL “sasm vuObTS PemOTTy JO aTqel uy papyAoId se pajzjtwied sz ubys [edtIrTTod y
*UOT}OBTa TEDSOT I9ayzO JO ‘aqeys ‘TeUOTJeU e 3e BDTYJO OTTGnd 03 VOTaTa IO UOTAeBUTWOU IOJ ayepTpued e JO UOT \VaTAa ay} *Z IO fainseaw e yO Yeajap 3o afessed ayy “*T 2104 $19 JOA JO UOTJDE |yy asdUaNTJUT 03 paubIsap uUBts e - subyS [edTITTOd
*Aytioyyny Buy yues9 yJwiag TeyoedsS ayy wOoIy Ppai=Nhar sy yrwied [eyoeds y "e
*goeyins BuypliIng e o4uO AT jOaITIp pequted abessow 30 j[eInw uauewied e - suUlIS [TEM PpaqUutTed
RE
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*goueleaTO UPTISapad JOJ pamoTTe aq ysnw 3284 (OT) Ua} JO TAaAaeT yTeMAPTS |AOge |soURIeaTO wnwIuTW yY *9
*qub Tay UT SaydUT (9T) UaazXxTS pasoxa you TTeYys sTOqwAs IO $1a}3<a7 °q
*apTsiapun au} 0} payoejzjze IO puotaq BbuTpuayxa you yng ‘jo aodeyins au} ysutTebe jeTy payoezje IO uo pajuTed aq Aew uBbtTs yons ‘e
*BuTpTtng e jo a0ey |y} WOIY SjOafoId YOTYM Jay TeUsS BuTbueyIsAO yUaUewIed e uo ‘iJapear Adood atqeabueyorlajutT ue jo Butystsuod ro ‘03 payoeqze ‘uo pajuted ubts e - suDIS aanbiew
"Bale UT aaj azenbs gaiuy Bbutpasoxa you yoea BbutTy1ed IO saduerjUa Ioj se yons subts Teuot\aITp ydeoxa ‘jaaIjs 3ay} 03 TeTTezed jo saaiHap sy uTUTM IO TaTTe1ed jou STTem Butptting uo pazzqtwied aq you T[Teys subts na
*ATazeredas peyetnoteo aq =Teus a2bequoly yearjs yoea Butoey eaze ubts ajzebarbbe ay} ‘}aaI}s |uO UeU alow UO SJUOIJ JOT © SIBUM “BUTT OT JeeITqs eB 0} TetTered AjtjTetjueysqns Io Tattered aoey BHutpttng $O 300j yYoed IOJ Yaay aIeNbs omy HuTpesaoxa jou eare ajeherbbe ue aaey TTeus stToqwAs IO siajjaq “Tt
- azts ubtS °‘a
*payoezjze are Aauy YOTUM OF TTEM 3y JO Spua 3yy pUuoA|g JOU ‘4jOoOI ayy yo 4yIed YSAMOT BY} BAOgE PUazxe JOU TTeYUS SsTOquAS pue SiIaqjeT YONS ‘Pp
*payoejje are stToqwds pue Sia}}eT 94} YOTUM OF (SWOSUeI} ‘STaqUTT ‘SadTUIOD 0} pazywTT you ynq BuTpntTouy) Gutpttinq ayz yo saInzeay TeinjoayTysIe ainosqo you fTeyS sToquAs pue siaqj9a7 °9
‘agoejins BUIPTINg ay} woly sayoUT (ZT) ATOM} UPY BIOW yaford you TTeUS STOqwAS IO SI1a}}aT aseuL ‘q
*sToqwAs IO $18}jaT ayy jO [Te sassedwodua YoTYyM adeyus ITIJewos6h IayjoO 10 atTbuejyoeI YsaTTews 3ayz JO jeu ST Payndwod aq 07 Bale au, ‘e
*preoqubts Jo ‘TTem ‘adeyins Butpting ‘joor e ‘aanbiew ‘BuTume ue OF payoezje are YyoTUM - STOqwAS IO $1a}ja7 TeNPTATPUT
“OT
33
*asn astwaid-uo ue ATUO astjJaape TTeys uBtTS yons jo sjuaqUOg
*eazre sseTbh [e}0} au} JO “Og Paaoxa you TTeus UBTS mOpUTM e JO Bare Te}O} JUL
“e
*mOpUTM eB JO sseTh aptsuT
ay} UO pajuted UBbTSs payeuTwNT[T-UOU YUaUeWIad e ST - UDTS MOPUTM
"Pale UT Jaajy aienbs (¢) aaryy BuTpasoxa you yoea HutTyIed IO saoduelquUa moj se yons suB{—Ss TeuOTaITp ydeoxa ‘jJaaIjs ayy 0} TaTTered jo saaiHap sy uTYyyyM IO TaTTered jou sttem 6butpttng uo pazyqwied aq you TTeys subtIs °*Z
*ATaqeredas payetnoted 3aq_ rTTeys abequory yeerys yoera
Butoes eae ubts ajebaibb6e ay3 28118 QUO _UPU}
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JO JOOJ TESUTT YOeS IOJ Yoay arenDs om} HuTpaeoxa jou eazre ajyehaib6e ue aaey teus b6butptting ay} 02 payoeqqe ‘sadtAap ButTstyraape ao subIS ‘T
:azqS uBTS = “p
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ST 32 YOTUM OF TTEM 3Yz JO Spua ayy puUoAaq JOU ‘JjoOoI ay} JO 4UTOd YSaMOT 9U} BAOGe pUua}xa jou TTeus suBbTS YyOnNS °9
*payore}zze st uBTS ayy YOTUM 0} (SWOSURI}
‘sTaqUTT ‘SadTuIOD 0} paztwT{T jou ynq Gutpntout) Huypttng au3z JO SaInjzeay TeInjyOayTYyDIe aInosqo you TTeus ubts aut ‘gq
*aoeyins BuTpTtnq ay} woly sayduyT use qjTy
(ST) uaeqtTy UeY arOow yOeford you TTeys UBbTS TTeMy “‘e *ainjzonijs 10 BuTpTtIng e jo aDesINs
IOTIa}x9 ay} UO TaTTeIed payoezje st yoTUuM UBTS e st -
*AqTD ayy Aq peustTqeyse eq TTeys se sjyUuNOWe YONS IOJ Ppue PaINsuT-Od se TTaM07 JO ARTQ Byy BuTweu AOTTod adueInsuyT ue Aq PaIaAod aq
TS TTEM
ysnw Aem ottTand e Hueyraao yotum subts Iauueg Arerodwal "5 *‘subTs Arerodwe} I0j partnbeal st yTwied ON) °q
"Pearle MOPUTM 9U} JO XO¢E UbY aIOW OU UT padkeTdsTp aq Aew sjyuaaa IO sates Tetoads o3 BHhututTezyied subts Areiodwa, ‘e *sAep (0¢) AqIT aiow ou
JO potiad e IOJ pasn aq 0 papuaqut ubts e st - ubTS
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*JUuawYysTTgeyse yeu} roy O6utubtISs Jo wioy aTqtseay ATuO 9yui ST YT JT paquelb aq Aew Ytwiag *AqtsoujNy ButTyueIN JTwiad TetToads ay} Aq ytwied Tetoads Aq ydaoxa paytqryoid are subtIs jooy ‘e
ButptTtng e jo joor au} aAoge pauTe\UTew IO ‘payonijsuod ‘payoara uBbTs e - UbDTS jooY
*pamoTTe eare ubts Te .O} BHutTyndwod ut papntTouT you are subts yong °*9
*Butstqzeape ou reaq Aew sufts yong ‘q
"aay arenbs (7) INOJ paadxa JOU TTeYS |adUaTUSaAUOD pue Ajajyes <attqnd ioj Azessadau are yey, subts yons ‘e
"(*93a ‘auoyudataz ‘swoorjsai *6°3) Jeaarjs OTTQnd e woIJ AaTQTSTA AjTjpeaI jyOU asn e JO UOTJEITPUT IO SpieMOZ SUOTIDSITp BHBuTpTAOId $O asodind ay} Joy payesotT ubfS e St - UDTIS sadTAIaS OTTaNMY
*AYTQ ayy AQ paystTtTqeysa aq TTeys se sjUNOWe YONs IOJ pue painsuT-O9 se [TseMO7] JO ARTD ayy BuTweu AoTTod aoueinsut ue Aq palasaod aq ysnw Aem OTTGnd e Butbueyreao subts TTy °6
*Aem OTTGNd e BueyIeAo YyoTYUM sUuBTS joeIa 03 [T9UN[D AjTQ |ayy woIy PaIf=Nbarl st yywrad [euoTyrppe uy a
‘Bptq Arojys auo e JO Jsoor ayy Jo yUuTOd 4SaMOT aul “Zz
Io ‘Azojs YSITJ 942 JO SMOPUTM IO SIOOP 3yz JO do. ay pue AIOJS }SITJ BY} BADGE SMOPUTM JO TaAaT 4SITJ 3y} JO STTTS jO wO}}JOG ay} UsaMzeaq Papuadsng “T
:10jyadsut BuTpTtng ayy Aq pautTwiayap se ARTTTQTSTA pue AjtTnuTJUOD IeauTT ‘aTeos jo UOTJBOTTde TNyssadons ysowW 9yy ST IJaAayOTYUM ‘BHUTMOTTOJS 3u3 gO 3U0 YIM BUTT UT Ppapuadsns aq Aew ubTS au jo doq sul ‘3
*T3A9T ATEMAPTS WOIJY BOURIeaTO UeTISaped yoos (OT) ua} e& MOTTe TTeys uBTs pyes yo woz}0q ouL ‘Pp
*8UTT Gino 84} BPTSUT 4eas (Z) OMZ YO BUeTG TeOTIIBA e& puokag 4afo1d you TTeys pue ‘sathue yyOtr ye Buny aq ysnw ubts yong ‘°9
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34
TABLE OF ALLOWED SIGN USES:
C.
IB
Y a ¥ SP}
Y od ee try
Y 7
Y
Y
Y
SP
Y
Y
SP yr}
SP
Y
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IA IP IPHR Y = Y Y Y Y Y Y Y Y
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SP SP a SP
t SP 1 SP ¥ SP r ke vite ge ia Veber 9g
SP
Y Y Y
RATR, NN {N|Y | Y | -SP eee
Y Y [NTN] NTN] Y_ ‘ N SP
ee ee | ere ae ees eee SP EARS ety N | SP ay PN SP_] SP bt ae ew N | Y a NN OP ey
¥ 7
Y ¥ N
>
oN | ee ee: ee er eee
NN isch
a
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¥i@
Yi *
N | _N
N {UN |
N
¥ i Y
N|_N
N !
N[_N
eh Vet eee koe coe ee
ZONING DISTRICTS s-1| B-2 | S-2 | M-l }M-2 M-3 |3-1 |B-2A} B-3
> = WY E ra © ~ WwW i uJ a ao be WW C5 — mg | he aad a H - O wWwiZzIO Bae = WY be Cie it | rt CHINE QIl>~IOMNIO|F ia > {= IE] IIa |W > a Cf [ER [IZ icc [> a ZIT IH IY (ad | WY TBH fOIIt |Z JOWW/OloWWw/lOle i—¢ H WIO lO IZ IT IC JF HI JW IM Wa IR lOlo a =ie Ww PIFIDISIZMBIZIZIRIVIEISIEIRIM (en) (ee) et — Sole BIGIEISIicle ls iF IIS SIZ IFISISIS|MIHISIZ ISIE IR |HIC|@ lai io Clr OIL IC IZISIS IPE WIP IT IT ICIS ISlZ TIOJOIOjw me [> Ja jo Qa Ojo f-jz=l=zI/ao
‘Juawuopuege IO uot eptTdeTIp ‘aoueuazUTew azenbapeut gO uosear Aq yiTeay IO Ajayes Of prezey e saynjtysuog = *gq
fayesun ATTeINJONIYS SI *e >YOTYM aINjZONI4s uBts 30 uBbTs Auy 7)
*BuTpTtnq ey} JO uot JOUNS AjJadoId YIM SalajyJajUT IO ITe IO WOT 6Butptaoid 30s 6Hutuado iayj0 0 Joop ‘MOpuTM e& $3oNI4SqGO YOTUM JO AWM Y}xXB PaItNbar IayjO JO adeosa sity ‘moputM ‘OOP partnbaz ® woIly ssaifa 10 03 ssaibuy sary $joNI3SqG0 yotym udts Auy os
*“SpeOl pue sjaarys ITTqQnd UO adTASP TOI}UOD IO UBy~s oTyyeIz Aue yo AYTTTaTsTA eu} woly BuyyoeIjap IO ‘sIaATIp Jo UOTSTA ayy Buy\oNI4ysqo Aq 10jDadsuUT BUTPTING ayy JO UOTUTdO auy UT Ajajes OTJsl1IZ 0} YUSwTI3ap e 10 PIEZEY ITJJEIZ & SaIN}TJsSuOD ‘uOTJeEUTWNTTT JO IauUeW IO BuyIoTOS ‘yuaju0d ~‘uoTyeD0T ‘azqts S}} gO uosear Aq ‘yatym ubTs Auy “2
*JeeI}s ITTQnd e wor STQTSTA ST }eYyZ yzed BuyAow paztiojow e sey IO ‘sajzeqor ‘saysety 7
:yOTYM UBTS eB jOaza Aew uosiad oN
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*payoeqje st ubts ayy yotum 03 ButpTtng 84} JO AUT] adTUIOD ayy
eaoge ATSSaTpaau puazxa jou TTeys ubTs e Joy - SLayOVUG ONY S1LYOddNS
"asn IOOTJ puno16 atbuts e alam jy 4T pamoTTe abeubts jo aay arenbs ay} jTeu-sauo aaey yoea Aew TarAatT yoea jo sjuedndD0 ajeredas ‘aper6 yaarys motaq Atjetz1ed ATuO st juawaseq ayz pue eper6 jaaijs aaoge ATTeTIUe ans
St O6utpttnq e yo sz00TY 3SITJ 942 JF = JLNOYISSYOLS T3AR7ENS
*SyUawaelt~nbal yoeqjas woly ydwexa are
SUBTS ‘apo Sty} UT patsyoads astMIayZO SseTUN - SINSWIUINOSY NKOVELSS
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