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Jonah had studied classic Roman lettering under Leonard Evetts, a respected specialist in the subject, at the King Edward School of Art in Newcastle upon Tyne in the 1930s. Although he drew all the lettering commissions that came into his workshop, as his career progressed and he became busier with work for churches and other public sites, the cutting would often be done by assistants. Jonah saw this process as a collaboration, with the assistant not merely doing the lettering mechanically, but interpreting the design. Whoever did the cutting, though, the style was distinctive, thanks to Jonah’s design and layout.