[2] Shipcott praised the quality of design and production, while faulting Signature for being weighted towards the historical rather than the contemporary.
Art historian Andrew Causey observed that "no journal can make a greater claim to have stimulated the taste that became neo-romanticism",[3] a term applied to the imaginative and often quite abstract landscape-based painting of Paul Nash, Graham Sutherland, John Piper, and others in the late 1930s and 1940s.
[4] The lithographic work by Sutherland that Simon commissioned for the Curwen Press Newsletter cover in 1936 is a broad adaption of the design of his painting Mobile Mask shown at the International Surrealism Exhibition at the Burlington Galleries London in June and July 1936.
For issue Thirteen, May 1939, Piper contributed an auto-lithograph titled Cheltenham, an architectural subject more in the style with which he would become associated.
It is one of a series of British typographic magazines including The Fleuron (1923–1930), the Monotype Recorder, Typography (1936–1939), Alphabet and Image (1946–1952), Typographica (1949–1967), Motif (1958–1967), Baseline (1979–present), The Matrix (1981–present) and Eye (1990–present).