KK/MB: Who do you consider to the be the most prolific sign painters in Toronto and why?
CR: The two most prolific (and pervasive) Toronto sign painters would be Wayne Reuben and Douglas (Dougie) Kerr. They hand-crafted signs and showcards at the legendary Honest Ed's department store for decades, in the iconic red-yellow-blue colour palette. Their signs are now highly sought after, and have become relics of Toronto history.
KK/MB: Which Toronto signs influenced your approach to hand lettering and sign painting?
CR: Along with the showcards of Honest Ed's, I am influenced by hand-painted signs and windows across Toronto. The most beautiful signs reside in Toronto's least gentrified neighbourhoods; these include Kensington Market, Spadina Avenue and Dundas West / Little Portugal. But if you look hard enough, you can find beautiful specimens in almost every corner of the city.
KK/MB: What are some examples of recent hand painted signs that exist today?
CR: My favourite contemporary signs are by local sign painter Rcade (Andrew Kidder). His work merges classic techniques with modern sensibilities. You can find many of them in the west end of Toronto: Bellwoods Brewery, Sugo, Major Treat, and Nite Owl Barber (to name a few).
KK/MB: For your “Toronto Signs” poster, how did you determine which signs would be featured?
CR: The first time I ever visited Toronto, I was awe-struck by the Elgin and Winter Gardens marquee sign, illuminating Yonge Street with its hundreds of bright bulbs. Then after I moved here, I discovered so many more beautiful signs scattered across the city - some working and others derelict. When I decided to make a poster, I compiled a list of all of my favourite signs, and then narrowed it down to my top twelve. I selected signs that were distinctly "Toronto" and also featured unique form and exceptional use of typography.
KK/MB: How did you develop an interest in signs?
CR: I've always been enamoured with letters and alphabets. I grew up in a small town in Saskatchewan, where I remember hand-lettered price signs in the grocery store, and hand-painted store fronts and signs on main street. As I grew older, moved to different cities, and travelled to different countries, I found local signage to be one of the most interesting pieces of visual vocabulary. Signs imbue spaces with stylized information, and no two places are alike.
KK/MB: What signs do you remember when you first came to Toronto?
CR: I had an unofficial tour guide on my first trip to Toronto, and we covered a huge walking area that included Queen Street West, Yonge Street, and Bloor Street. I distinctly remember the Elgin and Winter Gardens sign. The Sam the Record Man sign was still in its original position, not far from the World's Biggest Bookstore sign. I loved the gaudy Zanzibar and Brass Rail signs. The 'piece de resistance' was when I first laid my eyes on Honest Ed's - it was literally "too good to be true!"
KK/MB: How did you train yourself in hand lettering?
CR: My hand-lettering and sign painting is all self-taught. I spent many years honing my lettering skills with pencils and brush pens. I then dived into sign painting in 2017, researching brushes, paints, and techniques. With many hours of practice, and some great tips from painters I admire, I started to create my own work - both for businesses and in my personal practice.
KK/MB: You have taught several hand lettering classes – have you heard any interesting stories of Toronto signs from your students?
CR: A couple of my hand-lettering course students had grandparents or relatives who used to do sign painting as a profession. One student still had all of the family's original sign painting paraphernalia from the 1940s (which I was very jealous of!) Anecdotally, there is a huge interest in analog techniques like sign painting, and a great, renewed appreciation for the craftsmanship.
KK/MB: Can you speak to your use of nostalgia in your choice of subject matter for your posters? Is there a certain era you’re attracted to and why?
CR: I am definitely drawn to historical references, and the use of nostalgia to evoke the optimism (or perhaps the simplicity?) of bygone eras. I'm particularly interested in the pre-digital, post-war commercial arts style of the 1940s-1960s. This era is a goldmine for hand-drawn typography, and captures a spontaneity & human quality that is difficult to achieve with fonts on a screen or tablet.
KK/MB: Your work often reimagines old signs by embedding queer double entendres. How did this evolve and can you elaborate on the role of camp and kitsch in your work?
CR: Great question! Yes, some of more recent work explores vintage graphics and legacy product packaging. I think nostalgia is a great way to present something familiar, but offer it in a new way. The sign painting that I layered on old paint-by-numbers (It gets better / It gets worse, Homo Sweet Homo, etc.) is meant to be a bit cheeky and irreverent, with a friendly wink to the viewer. For the more recent gay packaging paintings (Queer, Fruity, 100% Homo Milk, etc.), I used campy wordplay to evoke an element of fun, and then (hopefully) confront more complex questions about our relationship with consumerism and targeted marketing.
SIGN PAINTER Q&A by Chris Rouleau
Moderators: matt, kurtkraler, glyn
Re: SIGN PAINTER Q&A by Chris Rouleau
put into layout in a different order
Chris Rouleau is a kasjd lks las asl kjasl kjsa a sl kjhka sdkjr fkr ejhker ks asl kjasl kjsa a sl kjhka sdkjr fkr r ks asl kjasl kjsa r ks asl kjasl kjsa r ks asl kjasl kjsa ejhker kasjd lks las asl kjaslasdsd sl kjhka sdkjr fkr ejhker.
Kraler: How did you develop an interest in signs?
Rouleau: I’ve always been enamoured with letters and alphabets. I grew up in a small town in Saskatchewan, where I remember hand-lettered price signs in the grocery store, and hand-painted store fronts and signs on main street. As I grew older, moved to different cities, and travelled to different countries, I found local signage to be one of the most interesting pieces of visual vocabulary. Signs imbue spaces with stylized information, and no two places are alike.
Kraler: What signs do you remember when you first came to Toronto?
Rouleau: I had an unofficial tour guide on my first trip to Toronto, and we covered a huge walking area that included Queen Street West, Yonge Street, and Bloor Street. I distinctly remember the Elgin and Winter Gardens sign. The Sam the Record Man sign was still in its original position, not far from the World’s Biggest Bookstore sign. I loved the gaudy Zanzibar and Brass Rail signs. The ‘piece de resistance’ was when I first laid my eyes on Honest Ed’s - it was literally “too good to be true!”
Kraler: What is it about the Honest Ed’s sign that provoked that response?
Rouleau: I had
Kraler: How did you train yourself in hand lettering?
Rouleau: My hand-lettering and sign painting is all self-taught. I spent many years honing my lettering skills with pencils and brush pens. I then dived into sign painting in 2017, researching brushes, paints, and techniques. With many hours of practice, and some great tips from painters I admire, I started to create my own work - both for businesses and in my personal practice.
Kraler: Can you speak to your use of nostalgia in your choice of subject matter for your posters? Is there a certain era you’re attracted to and why?
Rouleau: I am definitely drawn to historical references, and the use of nostalgia to evoke the optimism (or perhaps the simplicity?) of bygone eras. I’m particularly interested in the pre-digital, post-war commercial arts style of the 1940s-1960s. This era is a goldmine for hand-drawn typography, and captures a spontaneity & human quality that is difficult to achieve with fonts on a screen or tablet.
Kraler: For your “Toronto Signs” poster, how did you determine which signs would be featured?
Rouleau: The first time I ever visited Toronto, I was awe-struck by the Elgin and Winter Gardens marquee sign, illuminating Yonge Street with its hundreds of bright bulbs. Then after I moved here, I discovered so many more beautiful signs scattered across the city - some working and others derelict. When I decided to make a poster, I compiled a list of all of my favourite signs, and then narrowed it down to my top twelve. I selected signs that were distinctly “Toronto” and also featured unique form and exceptional use of typography.
Kraler: What would you consider a ‘distinctly Toronto’ design element?
Rouleau: I had
Kraler: Which Toronto signs influenced your approach to hand lettering and sign painting?
Rouleau: Along with the showcards of Honest Ed’s, I am influenced by hand-painted signs and windows across Toronto. The most beautiful signs reside in Toronto’s least gentrified neighbourhoods; these include Kensington Market, Spadina and Dundas, Little Portugal.... But if you look hard enough, you can find beautiful specimens in almost every corner of the city.
Kraler: Your work often reimagines old signs by embedding queer double-entendres. How did this evolve and can you elaborate on the role of camp and kitsch in your work?
Rouleau: Great question! Yes, some of more recent work explores vintage graphics and legacy product packaging. I think nostalgia is a great way to present something familiar, but offer it in a new way. The sign painting that I layered on old paint-by-numbers (It gets better / It gets worse, Homo Sweet Homo, etc.) is meant to be a bit cheeky and irreverent, with a friendly wink to the viewer. For the more recent gay packaging paintings (Queer, Fruity, 100% Homo Milk, etc.), I used campy wordplay to evoke an element of fun, and then, hopefully, confront more complex questions about our relationship with consumerism and targeted marketing.
Kraler: You have taught several hand lettering classes – have you heard any interesting stories of Toronto signs from your students?
Rouleau: A couple of my hand-lettering course students had grandparents or relatives who used to do sign painting as a profession. One student still had all of the family’s original sign painting paraphernalia from the 1940s, which I was very jealous of! Anecdotally, there is a huge interest in analog techniques like sign painting, and a great, renewed appreciation for the craftsmanship.
Kraler: Who do you consider to the be the most prolific sign painters in Toronto and why?
Rouleau: The two most prolific and pervasive Toronto sign painters would be Wayne Reuben and Douglas ‘Dougie’ Kerr. They hand-crafted signs and showcards at the legendary Honest Ed’s department store for decades, in the iconic red-yellow-blue colour palette. Their signs are now highly sought after, and have become relics of Toronto history.
Kraler: What are some examples of recent hand-painted signs that exist today?
Rouleau: My favourite contemporary signs are by local sign painter Rcade (Andrew Kidder). His work merges classic techniques with modern sensibilities. You can find many of them in the west end of Toronto at places like Bellwoods Brewery, Sugo, Major Treat, and Nite Owl Barber, to name a few.
Chris Rouleau is a kasjd lks las asl kjasl kjsa a sl kjhka sdkjr fkr ejhker ks asl kjasl kjsa a sl kjhka sdkjr fkr r ks asl kjasl kjsa r ks asl kjasl kjsa r ks asl kjasl kjsa ejhker kasjd lks las asl kjaslasdsd sl kjhka sdkjr fkr ejhker.
Kraler: How did you develop an interest in signs?
Rouleau: I’ve always been enamoured with letters and alphabets. I grew up in a small town in Saskatchewan, where I remember hand-lettered price signs in the grocery store, and hand-painted store fronts and signs on main street. As I grew older, moved to different cities, and travelled to different countries, I found local signage to be one of the most interesting pieces of visual vocabulary. Signs imbue spaces with stylized information, and no two places are alike.
Kraler: What signs do you remember when you first came to Toronto?
Rouleau: I had an unofficial tour guide on my first trip to Toronto, and we covered a huge walking area that included Queen Street West, Yonge Street, and Bloor Street. I distinctly remember the Elgin and Winter Gardens sign. The Sam the Record Man sign was still in its original position, not far from the World’s Biggest Bookstore sign. I loved the gaudy Zanzibar and Brass Rail signs. The ‘piece de resistance’ was when I first laid my eyes on Honest Ed’s - it was literally “too good to be true!”
Kraler: What is it about the Honest Ed’s sign that provoked that response?
Rouleau: I had
Kraler: How did you train yourself in hand lettering?
Rouleau: My hand-lettering and sign painting is all self-taught. I spent many years honing my lettering skills with pencils and brush pens. I then dived into sign painting in 2017, researching brushes, paints, and techniques. With many hours of practice, and some great tips from painters I admire, I started to create my own work - both for businesses and in my personal practice.
Kraler: Can you speak to your use of nostalgia in your choice of subject matter for your posters? Is there a certain era you’re attracted to and why?
Rouleau: I am definitely drawn to historical references, and the use of nostalgia to evoke the optimism (or perhaps the simplicity?) of bygone eras. I’m particularly interested in the pre-digital, post-war commercial arts style of the 1940s-1960s. This era is a goldmine for hand-drawn typography, and captures a spontaneity & human quality that is difficult to achieve with fonts on a screen or tablet.
Kraler: For your “Toronto Signs” poster, how did you determine which signs would be featured?
Rouleau: The first time I ever visited Toronto, I was awe-struck by the Elgin and Winter Gardens marquee sign, illuminating Yonge Street with its hundreds of bright bulbs. Then after I moved here, I discovered so many more beautiful signs scattered across the city - some working and others derelict. When I decided to make a poster, I compiled a list of all of my favourite signs, and then narrowed it down to my top twelve. I selected signs that were distinctly “Toronto” and also featured unique form and exceptional use of typography.
Kraler: What would you consider a ‘distinctly Toronto’ design element?
Rouleau: I had
Kraler: Which Toronto signs influenced your approach to hand lettering and sign painting?
Rouleau: Along with the showcards of Honest Ed’s, I am influenced by hand-painted signs and windows across Toronto. The most beautiful signs reside in Toronto’s least gentrified neighbourhoods; these include Kensington Market, Spadina and Dundas, Little Portugal.... But if you look hard enough, you can find beautiful specimens in almost every corner of the city.
Kraler: Your work often reimagines old signs by embedding queer double-entendres. How did this evolve and can you elaborate on the role of camp and kitsch in your work?
Rouleau: Great question! Yes, some of more recent work explores vintage graphics and legacy product packaging. I think nostalgia is a great way to present something familiar, but offer it in a new way. The sign painting that I layered on old paint-by-numbers (It gets better / It gets worse, Homo Sweet Homo, etc.) is meant to be a bit cheeky and irreverent, with a friendly wink to the viewer. For the more recent gay packaging paintings (Queer, Fruity, 100% Homo Milk, etc.), I used campy wordplay to evoke an element of fun, and then, hopefully, confront more complex questions about our relationship with consumerism and targeted marketing.
Kraler: You have taught several hand lettering classes – have you heard any interesting stories of Toronto signs from your students?
Rouleau: A couple of my hand-lettering course students had grandparents or relatives who used to do sign painting as a profession. One student still had all of the family’s original sign painting paraphernalia from the 1940s, which I was very jealous of! Anecdotally, there is a huge interest in analog techniques like sign painting, and a great, renewed appreciation for the craftsmanship.
Kraler: Who do you consider to the be the most prolific sign painters in Toronto and why?
Rouleau: The two most prolific and pervasive Toronto sign painters would be Wayne Reuben and Douglas ‘Dougie’ Kerr. They hand-crafted signs and showcards at the legendary Honest Ed’s department store for decades, in the iconic red-yellow-blue colour palette. Their signs are now highly sought after, and have become relics of Toronto history.
Kraler: What are some examples of recent hand-painted signs that exist today?
Rouleau: My favourite contemporary signs are by local sign painter Rcade (Andrew Kidder). His work merges classic techniques with modern sensibilities. You can find many of them in the west end of Toronto at places like Bellwoods Brewery, Sugo, Major Treat, and Nite Owl Barber, to name a few.