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The article presents the documented photographs of Berlin, Germany that were taken during the prewar level of industrialization and a large bulk of Eastern Jews fleeing from persecution in Russia and Poland. It focuses on the displayed public art coming from various graphic signwriters who could become history's witness of letterforms ranging from Fraktur and Schwabacher, the German handwriting Sütterlin and Jugendstil to san serif. It also compares and contrasts the effects of the pre and post war environments that reflect the perspective of the photographer to preserve the essence of the place and memories that had taken place.

The article highlights the works of lettering historian, Nicolete Gray, and her documented photographs that depict the graphical details and characteristics of the city of Lisbon, Portugal. Gray has collected various examples of lettering, signing and other information systems which create a form of a scenic display of places which reflect the well practiced photographic instinct of the artist. It also presents Gray's photograph collection of the city in the 1960s wherein it was being preserved at the Central Lettering Record (CLR) in a photographic teaching archive which has begun in London, England's Central School of Arts and Crafts in 1963.

The author discusses the different graphic design in burglar alarm system in Europe. A collection of alarm art captured in his vernacular reveals a special kind of art. He inferred that alarm art varies by area. Amateur logos in alarm boxes predominate in rural areas associated by jaunty creatures and decorative fonts. The words printed in the boxes such as "Ambush!," "Stand Fast!," and "Decorum" offers artistic concept of security.

The article features the different typographical objects and artifacts used and applied by sign painters in creating signage and signboards. Evidently, sign-painters who painted signs for a living, would also fabricate letters out of wood for various dimensional signs and French signwriters made letters from sheet metals with small eyes welded that will serve as attachment to a signboard. In mid-nineteenth century letterforms, the most prevalent are san serif, slab serif, clarendon, Tuscan and a relative of the Tuscan called Saracen.

The article discusses various reports published within the issue, including one by Garech Stone on the single-letter logotypes and another by Rick Poynor on the image of designer-writer Chip Kidd.