Matthew Carter

The long interview published in Printmag is about typography from the very first letter to the final point. Indeed.

(…) Carter is unique in having designed type in every medium that has existed since the era of Gutenberg: metal, wood, film, and digital. His career has also spanned a surprising revolution in the profession of type design. When he was learning punchcutting there were few professional type designers.

Most of the famous type designers of the first half of the 20th century were first and foremost either letterers or book designers. There were only a handful of individuals who made their living exclusively from designing type and, with the notable exception of Frederic W. Goudy, they all worked for type foundries. Even in the era of phototype this situation remained largely unchanged. But with the advent of digital type and non-proprietary type design software it became possible for individuals without the backing of a large company to succeed as full-time type designers. Although the number of such individuals is still quite small, the number of those who have designed at least one font is enormous. Type design has become a democratic art.

Carter has not only survived these tumultuous changes but he has managed to remain at the forefront of the profession, both prolific in his output and continually surprising in his inspirations. He has always managed to find lettering styles from the past that are out of favor or overlooked yet not eccentric or extreme. Thus, he has resurrected the work of Charles Snell, Robert Granjon, Andrea Mantegna, Richard Austin, and Vincent Figgins. Carter is both a man of the present, at home with the latest type technology, and a man of the past, fully aware of the long and fascinating history of the Roman alphabet.

More ? Just read and look at it.

& :
Typo ? (@typographOL).
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