MATTHEW CARTER
Margaret Harding Matthew Carter 1937Born in London, England 1956
Harry Carter, Matthew’s father was also a type designer and through him Matthew received an intership at Joh. Enschede type foundry in the Netherlands. 1961Carter’s first cut of his version of a semi-bold Dante typeface. He then worked for Mergenthaler 1976Linotype desiging typefaces. While there he created Bell Cen- tennial for Bell Telephone Com- pany. “As the saying goes, type is a beautiful group of letters, not a group of beautiful letters.” -Matthew Carter 1962
He created the logo design for British satirical magazine Private Eye. Matthew Carter was one of the last people to learn how to cut metal type, these simple outlines of the type Georgia remind me of metal cutouts Carter and his colleague Mike Parker created Bitstream Inc. 1981
Carter left Bitstrem Inc. to form the Carter & Cone 1991type foundry with Cherie Cone. Georgia Verdana
Carter designed for Apple and Microsoft computeres. Verdana and Georgia typefaces were made to be viewed easily on computer monitors.
Type analysis and comparison of Georgia and Times Roman Carter is a member of AGI, Alliance Graphique Internationale
He has also designed typefaces for many publications such as: Typefaces Carter has designed:
Bell Centennial Big Caslon Bitstream Charter Big Figgins Carter Sans Cascade Script Elephant Fenway ITC Galliard Gando Georgia Mantinia Meiryo Miller Monticello Nina Olympian Rocky Shelley Script Snell Roundhand Skia Sophia Tahoma Verdana Vincent Walker Wilson Greek Wrigley Yale
Matthew Carter “I’m not sorry that I began by learning to make type before learning to design it, I would not necessarily recommend it to a student nowadays.”
-Matthew Carter “I look to how the designer has resolved the tension of producing a utilitarian thing with tight construction constraints while including part of themselves in the finished work,” he says. “Our alphabet hasn’t changed in eons; there isn’t much latitude in what a designer can do with the individual letters. Much like a piece of classical music, the score is written down – it’s not something that is tampered with – and yet, each conductor interprets that score differently. There is tension in the interpretation.” -Matthew Carter