That research leads to discovery is a truism, which we have used before, but not with more justification than in this issue. Christopher Burke’s scholarship allows us to become embroiled (if we care to) in the controversy about the origins of (Renner’s) Futura.

While Fiona MacSporran’s study of Charles Rennie Mackintosh’s talented contemporary, Talwin Morris, provides a superb illustration of the art of the book designer/craftsman.

A completely original approach to the perception of words and their meanings gives us some startling, amusing and thought-provoking images – Penelope Jordan’s Word Wares.

Meanwhile more proof is provided that sound historical models, together with attention to detail, produce the most satisfying typographic elements. The point is illustrated by the elegant fleurons which appear in Max Caflisch’s work, and the typefaces of Jonathan Hoefler.

Technology for television graphics has moved to the stage where design substance is again the determining factor for success or failure, argues John Aston. Discover the truth in his argument through the work of the BBC’s presentation graphics unit.

Hans Dieter Reichert & Mike Daines

A senseless thing to do, to make commodities in the shape of words. To make, say, a dress out of a word – any word – will render the word difficult to decipher and, one anticipates, make an uncomfortable dress. By fusing a word and a thing, nonsense is made of their ostensible functions. It would be safe to say that, from the outset, usefulness and function were not to determine the outcome of such a project…

Penelope Jordan