This learned journal is now in its seventh issue and it continues to rewrite the history of letterforms. The table of contents for this issue is as follows:
Hendrik D. L. Vervliet: The young Garamont: roman types made in Paris from 1530 to 1540. (Vervliet examines the early career of Claude Garamont, establishes a convincing chronology of the work, corrects some misattributions, identifies a so-far anonymous master).

Justin Howes: Extreme type: progress, ‘perfectibility’ and letter design in eighteenth-century Europe. (In a posthumous publication by an extraordinary researcher, the late Justin Howes looks at the idea of progress in eighteenth-century letter design).

Eric Kindel: The ‘Plaque Découpée Universelle’: a geometric sanserif in 1870s Paris. (Kindel continues his thorough investigations of stencil letters with a discussion of a device that could generate all the letters from just one template).

Sue Walker: Letterforms for handwriting and reading: print script and sanserifs in early twentieth-century England. (Walker surveys letterforms designed for young readers, and in particular the sanserifs that can be seen in early-twentieth-century children’s books).

Linda Reynolds: The Graphic Information Research Unit: a pioneer of typographic research. (Reynolds documents the work of the Graphic Information Research Unit: an undeservedly forgotten enclave within the Royal College of Art in London).

Giovanni Lussu: The form of language. (Giovanni Lussu briskly demolishes some tired misconceptions about the visual embodiments of language, at the same time proposing a more generous vision: ‘Typographers of the world! Onwards, let us go beyond typography!’).