Matthew Carter
Matthew Carter is a type designer whose career has witnessed the transition from physical metal type to digital type. It was through is father Harry Caret, also a type designer, that Matthew was given an internship at Joh. Enschede type foundry in the Netherlands. By 1961 Carter was then able to use the skills he had acquired to cut his own version of the semi-bold typeface Dante.
When he returned to London he became a freelancer as well as the typographic advisor to Corsfiled Electronics, distrubutors of Photon phototypesetting machines. Carter designed many typefaces for Mergenthatler Linotype as well. Under Linotype, Carter created well known typefaces such as the 100-year replacement typeface for Bell Telephone Company, Bell Centennial.
An early example of his work is the new logo he designed for the British satirical magazien Private Eye in May 1962, still used today. Previosuly the lettering had been different for each masthead of each issue. His logo has since appeared on nearly 1300 editions of the publication as well as books, memorabilie and merchandise. Even so, he does not receive a royalty for the coninuted use of his design
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In 1981, Carter and his colleague Mike Parker created Bitstream Inc., this digital type foundry is currently one of the largest suppliers of type. He left Bitstream in 1991 to form the Crater & Cone type foundry with Cherie Cone. He often focused on improving many typefaces’ readaibility. He designs specifically for Apple and microsoft computers. Georgia and Verdana are two fonts he created primarily for viewing on computer monitors.
He has designed type for publications such as Time, The Washington Post, The New York Times, Wired and Newsweek. A retrospective of his work ‘Typographically Speaking, The Art of Matthew Carter’ was exhibited at the University of Maryland, Baltimore County in 2002. Seven of Carter’s typefaces are in the permanent collection of the Museum of Modern Art.
Tobias Frere-Jones
Tobias Frere-Jones is a prolific type designer who works in New York City with fellow type designer Jonathan Hoefler at Hoefler & Frere-Jones, a type foundry. After receiving a BFA in 1992 from Rhode Island School of Design, Frere-Jones joined Font Bureau Inc., over seven years as a Senior Designer he created a number of the typefaces that are Font Bureau’s best known, among them Interstae and Pynter Oldstyle & Gothic.
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| Poynter |
In 1999, he left Font Bureau when he began work with Jonathan Hoefler. Since working together, the two have collaborated on projects for The Wall Street Journal, Marta Stewart Living, Nike, Pentagram, GQ, Esquire Magazine and The New York Times Magazine. He has designed over seven hundred typefaces for retail publication, custom clients and experimental purposes.
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| Hoefler & Frere-Jones Fonts |
‘He aims for the wildest possible range in his work. He feels equally at home with a traditional text face as with a grungy display face. He seeks inspiration from deliberately non-typographic sources: the music of Schoenberg, the theories of Tesla and Pythagoras and a row of shopping carts have all provided the initial spark’
When asked if the world really needs any more typefaces he replied ‘The day we stop needing new type will be the same day that we stop needing new stories and new songs’.
http://www.fontbureau.com/people/tobiasfrerejones/
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