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The article cites several films that make some kind of substantive reference to the creative business of advertising. In the romantic comedies "I Married A Woman," "Lover Come Back" and "The Thrill of it All," advertising is said to be nothing more than a glamorous pretext. In other films, advertising has served as an agent in morality tales on yuppie angst including "Lost in America," "Defending Your Life."

The article discusses Roundel's identity for Railfreight at British Rail in Great Britain. The author stated that the Railfreight identity by Roundel in the late 1980s has unified a multi-faceted business with a strong identity that boosted morale. He added that Roundel has created an appropriate identity that will emphasize the individuality of the six distinct divisions of Railfreight such as the core entity, plus metals and construction. Moreover, to differentiate its locomotive, Roundel has incorporated bold, geometric shapes and contrasting colors of the Quasi-heraldic markings on Second World-War planes.

The article focuses on the key elements of motion graphics. Such elements include time-based visual media, short, computer-generated imagery flowing and ebbing behind type. It asserts that most motion graphics are results of the increase of hardware and software, technological advances, and the creative impulses of designers. Moreover, it presents several films, videos and computer graphics, "Emak-Bakia," "The Adventures of Prince Achmed" and "Walking from Munich to Berlin," to examine the essence of motion graphics.

An essay is presented on the works of Roger Excoffon, the French designer of visible instances of the typeface Mistral which is popular in the city of Montrél, Quebec. Excoffon aims to achieve a modern handwriting perfectly free, uncodified and spirited, and he ended using his own handwriting as the basis for the typeface of the instance of Mistral. It also elucidates the given reason why Mistral has been popularly used in the city and has earned the favor of the French government.

The article features the visual artist Marlene McCarty who designed the title of the movie "Hedwig and the Angry Inch." McCarty takes aims at the movie audience with spinning wheels and lurid 3-Dimension titles platinum sausage curls at the bewildered diners. She has been involved in low-budget projects by directors such as Rose Troche, Mary Harron and Cindy Sherman. McCarty had trained in Cincinnati and Basel, Switzerland and worked at Seigal & Gale, The Museum of Modern Art, and at the M&Co before co-founded the Bureau in 1989.

The article reviews the LiveType graphics and tilting software with Apple Inc.'s Final Cut Pro 4.

Presents letters to the editor referencing articles and topics discussed in previous issues. "Lifting Lukova," which compared several artworks of Luba Lukova; "New Visual Artists Review," which reviewed artworks by several designers; "Terrible Beauty," which contended that the ability to perceive tragedy and recognize beauty is a moral balancing act.