Matthew Carter

Matthew Carter CBE RDI (born 1 October 1937) is a

British type designer.[1][2] A 2005 New Yorker profile Matthew Carter
CBE RDI
described him as 'the most widely read man in the
world' by considering the amount of text set in his
commonly used typefaces.[3][4]

Carter's career began in the early 1960s and has

bridged all three major technologies used in type
design: physical type, phototypesetting and digital type
design, as well as the design of custom lettering.

Carter's most used typefaces are the classic web

typefaces Verdana and Georgia and the Windows
interface typeface Tahoma, as well as other designs
including Bell Centennial, Miller and Galliard.[5][6][7]
He is the son of the English historian of printing Harry
Carter (1901–1982) and cofounded Bitstream, one of
the first major retailers of digital typefaces. He lives in
Cambridge, Massachusetts.[8]
Matthew Carter in 2018
Born 1 October 1937
Early life and education London, England, United Kingdom
Known for Type design
Carter grew up in London, the son of Harry Carter, a
Awards 2010 MacArthur Fellow
book designer and later historian of printing. His
mother worked in preparing scale drawings.

Although Carter had intended to get a degree in English at Oxford he was advised to take a year off so he
would be the same age as his contemporaries who had gone into National Service.

Career

Enschedé
Through his father, Carter arranged to hold an internship at the Joh. Enschedé type foundry in the
Netherlands for a year. An extremely long-lasting company with a long history of printing, Enschedé had
a history of creating conservative but popular book typefaces. Carter studied manual punchcutting, the
method used to make moulds used to cast metal type, under P. H. Rädisch. Punchcutting was a traditional
artisanal approach in decline many years before the 1950s. Carter is one of the last people in Europe
formally trained in the technique as a living practice.
Carter enjoyed the experience, and decided to move directly
into a career in graphic design and printing.

London and New York

Carter's career in type and graphic design has bridged the
transition from physical metal type to digital type.

Despite Carter's training in the art of traditional punchcutting,

his career developed at a time when metal type was rapidly
being displaced by phototypesetting. This reduced the cost of
designing and using a wide range of typefaces, since type could
be stored on reels of film rather than as blocks of expensively
engraved metal. In a book on Carter's career, historian James
Mosley, a few years older than Carter, would write of the Specimens of typefaces by Matthew
period of their upbringing: Carter

The Monotype classic [fonts] dominated the

typographical landscape ... in Britain, at any rate,
they were so ubiquitous that, while their excellent
quality was undeniable, it was possible to be bored
by them and to begin to rebel against the bland
good taste that they represented. In fact we were
already aware by 1960 that they might not be
around to bore us for too long. The death of metal
type ... seemed at last to be happening.'[9]

Carter eventually returned to London where he became a freelancer. By 1961 Carter was able to use the
skills he acquired to cut his own version of the semi-bold typeface Dante. An early example of his work is
the masthead logo he designed for the British magazine Private Eye in May 1962, still in use.[10][11]
Previously the lettering had been different for the masthead of each issue; it was based on a typeface ('a
bit of nameless juvenilia') which was never ultimately published.[12][13] He also did early work for
Heathrow Airport.[14][15]

Carter would later become the typographic advisor to Crosfield Electronics, distributors of Photon
phototypesetting machines. Carter designed many typefaces for Mergenthaler Linotype as well. Under
Linotype, Carter created well-known typefaces including Snell Roundhand, a script typeface and Bell
Centennial, intended for use in the Bell System's phone directories and to celebrate its anniversary.

Based on the work of Robert Granjon, a 16th century French engraver, Carter created the sharp, high-
contrast family Galliard. This matched a family interest: Carter's father in the 1950s had indexed and
examined original type by Granjon at the Plantin-Moretus Museum in Antwerp, and Carter had visited
him several times to observe his progress. Carter's adaptation, more intended for display use than for
body text, included some eccentricities of Granjon's original design, producing a result unlike many
previous revivals of typefaces from the period.[16] Carter wrote of his father's research that it had helped
to demonstrate "that the finest collection of printing types made [by Christophe Plantin] in typography's
golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories
which names the cutters of his types."[17][18]

Carter also advised IBM as an independent consultant in the 1980s.[19]

Bitstream
In 1981, Carter and his colleague Mike Parker created Bitstream
Inc.[1] This digital type foundry was one of the largest suppliers of
type before its acquisition by Monotype in 2012. The company
however did receive extensive criticism for its strategy of cheaply
offering digitisations of pre-existing typefaces that it had not
designed, often under alternative names (for example, Times New
Roman as 'Dutch 801'). While technically not illegal, this selling
of large numbers of typefaces on CD would be described by type
designer John Hudson as "one of the worst instances of piracy in Carter showing his DTL Flamande
the history of type". [20] In his role at Bitstream, Carter designed typeface, circa 1986

typefaces, such as Charter, and commissioned others such as

Iowan Old Style from John Downer.[21] Bitstream would ultimately be acquired by Monotype in
2012.[22][23]

Carter and Cone

Carter left Bitstream in 1991 and in 1992 formed the Carter & Cone type foundry with Cherie Cone.[24]
Carter's recent typefaces have been published by a range of retailers including ITC, Font Bureau and
Monotype, often in collaboration with Carter and Cone, together with his custom designs created for
companies such as Microsoft.

Of Carter's recent typefaces, the serif web typeface Georgia is inspired by Scotch Roman designs of the
19th century.[25][26] It was based on designs for a print typeface in the same style Carter was working on
when contacted by Microsoft; this would be released under the name Miller some years later.[27][28][29]
Speaking in 2013 about the development of Georgia and Miller, Carter said, "I was familiar with Scotch
romans, puzzled by the fact that they were once so popular ... and then they disappeared completely."[30]

Many of Carter's typefaces were created to address specific technical challenges, for example those posed
by early computers. Charter was created to use a minimal number of design elements to fit in a small
memory space on early computers, a problem that had expired even before he finished the design.[30] The
bold versions of Verdana and Georgia are also unusually bold, almost black. Carter noted that, "Verdana
and Georgia ... were all about binary bitmaps: every pixel was on or off, black or white ... The bold
versions of Verdana and Georgia are bolder than most bolds, because on the screen, at the time we were
doing this in the mid-1990s, if the stem wanted to be thicker than one pixel, it could only go to two
pixels. That is a bigger jump in weight than is conventional in print series."[30] Some of Carter's early
typeface digitizations would later be revisited: Monotype released an expanded version of Charter and
Font Bureau expanded versions of Georgia, Verdana, Big Caslon and others.[31][32] Earlier in his career,
Bell Centennial was created to be legible in telephone directories, even when printed on cheap paper at
small sizes.
Carter's only typeface to bear his name is Carter Sans.[33][34][35] It is a 'glyphic' sans-serif with flaring
towards the end of each letter. It was inspired by Albertus, a popular British typeface created by Berthold
Wolpe for Monotype. Carter knew Wolpe early in his career and helped digitize one of his less-known
typefaces for a 1980 retrospective of his work.[36]

One of Carter's more unusual projects was a typeface, Van Lanen,

for the Hamilton Wood Type and Printing Museum. A 'Latin'-style
wedge serif typeface, it was released both in digital form and
wood type. In an article on it, Carter noted that it has been "50
years since a type of my design had been in a physical form that I
could hold in my hand."[37] HWT Van Lanen, in a digital
specimen
Carter has taught on Yale University's graphic design programme
since 1976.[38] He also designed the university's corporate
typeface, Yale, at the request of John Gambell, the University
Printer.[39][40][41] Carter has said that this was the first time in
designing a typeface that he focused more on capital than
lowercase letters, since he knew that on the building signs the
lettering would be in capitals.[42] Carter wrote that: The Yale University logo, designed
in Carter's typeface, Yale
The signs, whether free-standing or attached to walls,
reminded me of inscriptions, and this led me to think
about the inscriptional origins of Roman caps and the
everlasting problem of reconciling capitals with
lowercase. For me, the moment when the first true
synthesis occurred was in the type of De Aetna. This
led me in turn to the Beinecke Library to pore over
their copy of the book and its type – the archetype of
Roman type for me.[42]

Awards
Carter has won numerous awards for his contributions to typography and design, including an honoris
causa, Doctorate of Humane Letters from the Art Institute of Boston, an AIGA medal in 1995, the TDC
Medal from the Type Directors Club in 1997, and the 2005 SOTA Typography Award. A retrospective of
his work, "Typographically Speaking, The Art of Matthew Carter," was exhibited at the University of
Maryland, Baltimore County in December 2002. This retrospective is featured in the documentary,
"Typographically Speaking: A Conversation With Matthew Carter." In 2010, Carter was named a
MacArthur Foundation Fellow, otherwise known as a "genius" grant.[43]

On 26 May 2011, he received the Lifetime Achievement Award from the National Design Awards at the
White House.[44][45]

He is a member of Alliance Graphique Internationale (AGI), has served as chairman of ATypI, is a

member of the board of directors of the Type Directors Club, and is an ex officio member of the board of
directors of the Society of Typographic Aficionados (SOTA). Some of Carter's designs are in the collection
of the St. Bride Printing Library in London.[46]

Carter was appointed Commander of the Order of the British Empire (CBE) in the 2020 Birthday
Honours for services to typography and design.[47][48]

Typefaces
Matthew Carter's typefaces include the following:

Alisal[49]
Bell Centennial[1][50]
Big Caslon[51][52][53][54]
Big Figgins
Big Moore
Carter Sans
Cascade Script[55]
Charter[56]
Cochin (adaptation)[57]
Elephant (later republished as Big Figgins)

Fenway
DTL Flamande
ITC Galliard
Gando
Georgia[58]
Helvetica Compressed[59]
Helvetica Greek
Mantinia[60][61]
Meiryo (Latin range)

Miller[62]
Monticello[63]
Nina
Olympian[64]
Rocky[65]
Roster
Shelley Script[66]
Sitka
Snell Roundhand[1]
Skia

Sophia[67]
Stilson[68]
Tahoma
 Van Lanen[37][69]
Verdana[58][70]
Vincent
Walker[71]
Wilson Greek
Yale

Besides Carter's commercially released typefaces, many of his designs have been privately commissioned
for companies for their own use. These include work for Le Monde, The New York Times, Time, The
Washington Post, The Boston Globe, Wired, and Newsweek.[72] Some of these typefaces would later be
released commercially. An example of this is Roster, which is based on a smaller family created under the
name of Wrigley for Sports Illustrated magazine, and Stilson, originally proprietary to The Washington
Post and named 'Postoni'.[68][73]

Seven of Carter's typefaces—Bell Centennial, Big Caslon, ITC Galliard, Mantinia, Miller, Verdana and
Walker—have been in the permanent collection of the Museum of Modern Art since 2011. The typefaces
were displayed in the MoMA's Standard Deviations exhibition of 2011–12.

See also
List of AIGA medalists
Art Directors Club Hall of Fame

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over the world" (http://www.slate.com/articles/arts/art/2007/05/the_helvetica_hegemony.htm
l). Slate.
59. Drucker, Margaret Re ; essays by Johanna; Mosley, James (2003). Typographically
speaking : the art of Matthew Carter (2. ed.). New York: Princeton Architectural. p. 53.
ISBN 9781568984278.
60. "MoMA – The Collection – Matthew Carter. Mantinia. 1993" (http://www.moma.org/collection/
browse_results.php?object_id=139309). The Museum of Modern Art.
61. "Mantinia FB" (http://www.fontbureau.com/fonts/Mantinia/). Font Bureau. Retrieved
22 February 2016.
62. "MoMA – The Collection – Matthew Carter. Miller. 1997" (http://www.moma.org/collection/bro
wse_results.php?object_id=139310). The Museum of Modern Art.
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ace/). Creative Pro. Retrieved 22 April 2016.
64. "Olympian" (http://www.myfonts.com/fonts/linotype/olympian/). MyFonts. Linotype. Retrieved
22 February 2016.
65. "Rocky FB" (http://www.fontbureau.com/fonts/Rocky/). Font Bureau. Retrieved 22 February
2016.
66. "Shelley Script" (http://www.myfonts.com/fonts/adobe/shelley-script/). MyFonts.
Adobe/Linotype. Retrieved 22 February 2016.
67. "Sophia FB" (http://www.fontbureau.com/fonts/Sophia/). Font Bureau. Retrieved
22 February 2016.
68. "Stilson FB" (http://www.fontbureau.com/fonts/Stilson/). Font Bureau. Retrieved 22 February
2016.
69. "HWT Van Lanen" (http://www.myfonts.com/fonts/hwt/hwt-van-lanen/). MyFonts. Hamilton
Wood Type and Printing Museum. Retrieved 22 February 2016.
70. "MoMA – The Collection – Matthew Carter. Verdana. 1996" (http://www.moma.org/collection/
browse_results.php?object_id=139312). The Museum of Modern Art.
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rowse_results.php?object_id=139311). The Museum of Modern Art.
72. Devroye, Luc. "Matthew Carter" (http://luc.devroye.org/fonts-26320.html). Type Design
Information Page. Retrieved 22 February 2016.
73. "Roster: A Square-Shouldered Powerhouse in 60 Styles" (https://web.archive.org/web/2016
0215203620/http://www.fontbureau.com/blog/roster-new-release/). Font Bureau. Archived
from the original (http://www.fontbureau.com/blog/roster-new-release/) on 15 February
2016. Retrieved 22 February 2016.
Eye, No. 11, Vol. 3, edited by Rick Poynor, Wordsearch Ltd, 1993.
Macmillan, Neil (2006). An A-Z of Type Designers. Laurence King Publishing.
ISBN 1856693953., p. 62.

External links
MyFonts (https://www.myfonts.com/collections/matthew-carter)
Georgia & Verdana – Typefaces for the screen (https://web.archive.org/web/201308282108
42/http://www.will-harris.com/verdana-georgia.htm)
Type Designer Showcase biography at Monotype Imaging (https://web.archive.org/web/200
80723183034/http://www.monotypeimaging.com/ProductsServices/TypeDesignerShowcase/
MatthewCarter/)
Designing Modern Britain exhibition biography (http://www.designmuseum.org/design/matth
ew-carter)
Matthew Carter (https://www.ted.com/speakers/matthew_carter) at TED
TED Talk: Matthew Carter: My life in typefaces (TED2014) (http://www.ted.com/talks/mat
thew_carter_my_life_in_typefaces)
Mathew Carter in conversation with Erik Spiekermann, Eye No. 11 (http://www.eyemagazin
e.com/feature/article/reputations-matthew-carter)
Graphic Content: Carter Sans (http://tmagazine.blogs.nytimes.com/2011/02/02/graphic-cont
ent-carter-sans/), by Steven Heller, New York Times, 2 February 2011
Matthew Carter (http://luc.devroye.org/myfonts-matthewcarter-/) – collection of material by
Luc Devroye
Carter & Cone (http://luc.devroye.org/fonts-26319.html) (Luc Devroye's website)
Carter & Cone (http://www.carterandcone.com/)

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