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	Matthew Carter
		Matthew Carter (born 1937) is a type designer who designs digital fonts.
		Previously with Linotype, he was the co-founder of the Bitstream type foundry[?] in 1981, and in 1991 left Bitstream to form the Carter & Cone[?] type foundry with Cherie Cone.
		Matthew Carter's typefaces include: Bell Centennial, Cascade Script, Bitstream Charter, ITC Galliard, Georgia, Olympian, Mantinia, Miller, Shelley Script, Snell Roundhand, Skia, Sophia, Tahoma[?], Verdana.
	www.ebroadcast.com.au /lookup/encyclopedia/ma/Matthew_Carter.html (97 words)

	matthew_carter · The Design Encyclopedia
		Matthew Carter is a type designer with more than forty years’ experience of typographic technologies ranging from hand-cut punches to computer fonts.
		Carter speaks frequently at conferences, colleges, and chapters of the American Institute of Graphic Arts.
		Carter is a Royal Designer for Industry, a member of AGI, and chairman of the type designers’ committee of ATypI.
	www.thedesignencyclopedia.org /matthew_carter?s=walker (470 words)

	AIGA - Matthew Carter (Site not responding. Last check: 2007-10-11)
		Carter's reputation is one built on both good type and good words: his contributions to the formal vocabulary of typography must be seen against the backdrop of his intellectual gifts.
		Carter vividly described their fonts as having "residual, skeletal forms." He sees himself, however, as coming from a different position, attributable to his background in type-founding rather than art or design school.
		One of Carter's favorite assessments of his work asserts that the letters he draws have "backbones." This sturdiness of structure is evidence of an analytical rigor that his fonts, writing, and speaking share.
	www.aiga.org /content.cfm?contentalias=matthewcarter (1564 words)

	Carter
		Matthew Carter was a Veteran of the Revolutionary War and served from the State of North Carolina.
		All of Matthew Carter's children came to Mississippi with the exception of a daughter, Susanna.
		Susannah Carter, was born 1780 SC., and died 31 August, 1848 in GA. She married 29 May, 1797 in GA., to Griffin Mizelle.
	members.tripod.com /~mallen4896/Carter/Carter-Matthew2.html (517 words)

	Six Typefaces Designed by Matthew Carter \| Urbanfonts.com
		Matthew Carter is a master typographer who has designed typefaces for over forty years.
		Matthew Carter was trained in the traditional disciplines of typefounding; at the age of nineteen, he spent a year studying in a type foundry in Holland, learning punch cutting from P.H. Raedisch.
		Matthew Carter went on to expand and improve this font in 1977.
	www.urbanfonts.com /articles38.htm (1177 words)

	Matthew Carter / Designing Modern Britain - Design Museum Exhibition : Typography Designer (1937-) - Design/Designer ...
		Half a century later Matthew Carter is not only the most successful, but also the archetypical contemporary typographer in his embrace of what he describes as the “wonderful pluralism” in the setting of text for print and the screen.
		Carter has compared the design process to knitting: beginning with an h and an o, which give the height of ascending strokes and the curves, and applying the decisions made about these “control” characters to the rest of the alphabet.
		Carter’s outstanding knowledge of type and its history has not led him to be fastidious or conservative in his attitude towards the democratisation and instability of type in the digital environment.
	www.designmuseum.org /design/matthew-carter (1826 words)

	Matthew Carter (Site not responding. Last check: 2007-10-11)
		In 1965 vertrok Carter naar N ew York om voor Linotype te gaan werken, omdat — zoals hij later verklaarde — Linotype’s Linofilm voor hem de eerste fotozetter was die de typografie aankon.
		Een van Carters eerste projecten bij Linotype was Snell Roundhand, een riant gevormd, schuin lettertype dat een zeer formeel handschrift enigszins nabootst.
		Carter heeft hier een kans gezien en verliet Linotype om samen met een Linotype-collega Bitstream op te zetten; dat was in 1981.
	www.lim.nl /articles/carter.html (1567 words)

	Typographically Speaking at Des Lee Oct. 10-Nov. 29
		Carter's 40-year career spans a technological revolution in type design, from the days of hot metal foundries and linotype assemblers to the introduction of commercial phototype in the 1960s and the modern era of desktop publishing.
		Born in 1937, Carter is the son of renowned designer Harry Carter and originally trained as a punchcutter at the Ensche type foundry in the Netherlands with the legendary Paul H. Rädisch, one of the craft's true masters.
		Carter is a Royal Designer for Industry; a member of the Alliance Graphique Internationale; chairman of the type designers' committee of AtypI (Association Typographique Internationale); and a senior critic at Yale University.
	news-info.wustl.edu /news/page/normal/415.html (864 words)

	creativepro.com - dot-font: The Typographic Art of Matthew Carter
		Matthew Carter's typefaces, which we see every day and every where, are highlighted in the catalog to a large new exhibition of his work.
		Carter's work pervades the media through which the messages you receive are being conveyed." Very few of the people doing any of the actions Drucker describes have any idea of the name or identity of the person who created the typefaces they're reading (except, of course, for the percipient readers of Creativepro).
		Carter, the perennial student, is a master at considering and utilizing divergent elements in the construction of a typeface as he quietly ‘serves' letterforms used to lend structure to thought across time and space."
	www.creativepro.com /printerfriendly/story/18099.html (786 words)

	kartooner.com » The Legacy of Matthew Carter
		Matthew Carter, born British but now residing in the Boston area, is the creative force behind many widely used fonts today including Verdana, Tahoma, Georgia, New Century Schoolbook and Helvetica, to name a few.
		Carter began his career as a traditional typeface designer, studying under Jan Van Krimpen’s assistant P. Raedisch, where he learned the distinctive craft of punch cutting and eventually transitioned into using digital methods to create his fonts, a more expedited method than traditional processes.
		In a presentation given to members of the AIGA (New York Chapter), Carter reflected on his many experiences with developing the fonts he’s so famously known for and revealed that many, if not all of his creations, were inspired by actual typefaces from historical architecture.
	www.kartooner.com /archives/2006/12/12/the-legacy-of-matthew-carter (453 words)

	Matthew Carter - Master Font Designer
		Matthew Carter is a type designer with more than forty years' experience of involvement in the typographic arts ranging from hand-cut punches to digitized computer fonts.
		Eventually, the talents of Carter and Cone got the attention of the newly blossoming personal computer industry and were awarded commissions for Apple, Microsoft to produce their screen fonts for Verdana, Tahoma and Georgia.
		Carter is a Royal Designer for Industry, a member of AGI, chairman of the type designers' committee of ATypI, and a Senior Critic on the Yale Graphic Design faculty (see Carter's "Yale Typeface").
	www.graphic-design.com /Type/carter/index.html (718 words)

	AIGA New York
		Matthew Carter’s designs are ubiquitously present in the visual landscape of contemporary graphic design.
		Carter’s work pervades the media through which the messages you receive are being conveyed.
		Matthew Carter is a principal of Carter and Cone Type, Inc., an independent digital typefoundry in Cambridge, Massachusetts.
	www.aigany.org /events/winter03/carter.html (411 words)

	PepsiAmericas: About: Matthew E. Carter
		Carter joined the former PepsiAmericas, Inc. in 2000 as Senior Vice President of Strategic Planning, and in 2005, he became Senior Vice President of Corporate Development.
		Carter was Finance Director at Pepsi-Cola International where he was responsible for developing PepsiCo's beverage franchise business for the Caribbean and Central America.
		Carter has 15 years experience in international operations in Latin America and the Caribbean, and nine years experience in the beverage industry.
	www.pepsiamericas.com /about/team.carter.shtml (71 words)

	Featured Designer: Matthew Carter - ITCFonts.com
		Carter returned to London in 1957, only to discover that there was about as much demand for punchcutters as there was for beach towels in February.
		Carter worked as a freelance lettering artist and typeface designer till 1963, when he joined Crosfield Electronics, the British manufacturing agent for the Lumitype phototypesetting machine.
		Carter’s ability to modulate this tension and create highly functional typefaces that are both distinctive and beautiful is one of the most admirable aspects of his work.
	www.itcfonts.com /Ulc/2912/MatthewCarter.htm (511 words)

	Monotype: Matthew Carter (Site not responding. Last check: 2007-10-11)
		Matthew Carter, the creator of typefaces such as Alisal, ITC Galliard, ITC Charter, and more recently, the system fonts Georgia and Verdana for Microsoft, is truly a living typographic legend–and yet his career began almost by chance.
		The idea was for Carter to rotate through many of the departments in the company, acquiring a basic knowledge of the many facets of the printing and typefounding business.
		Instead, when Carter arrived at the punch-cutting department, he stayed, learning this craft from P. Rädish, one of the masters of the twentieth century.
	www.monotypefonts.com /Foundry/DesignerProfiles.asp?show=carter (251 words)

	Designers´s Collected Works - Fonts of Matthew Carter
		The renowned British designer Matthew Carter has worked as a type designer for over 40 years.
		Matthew Carter designed the Shelley family 1972 for Mergenthaler Linotype to be used as a new script face for the photo typesetting machines.
		Matthew designed Shelley in three different versions, Allegro which is in the style of Kuenstler Schreibschrift, Andante where the caps are less flowrish and wide and Volante where the letters have its most expressive and wide forms and the lowercase z in this font is in the french anglian double stacked form.
	www.linotype.com /2468-18336/fontsofmatthewcarterinthelinotype.html (781 words)

	Gallery > Typographically Speaking: The Art of Matthew Carter
		Carter is one of the pre-eminent type designers of the 20th century and a historian of printing.
		Carter's letterforms reflect a prevailing concern with style, readability, legibility, and technology.
		Carter which were commissioned by major corporate and institutional clients to respond to specific technologies.
	aok2.lib.umbc.edu /gallery/carter2.php (260 words)

	USNews.com: If you like what you read, you should thank Matthew Carter
		It's with good reason, then, that Carter has been hailed as the world's most well-read man. At 65, he is the elder statesman of type design, as well as one of its most skilled technical innovators.
		Carter's Galliard, which you'll probably find in many of the books on your shelf, was based on a 16th-century font.
		You can't on a whim redesign a b so that it ceases to be a b." This tension between the functional and the aesthetic continues to keep Carter, one of 20 or so full-time type designers in the United States, planted in front of a computer screen for hours at a time.
	www.usnews.com /usnews/culture/articles/030901/1font.htm (583 words)

	In conversation: Ralph Gibson with Matthew Carter Graphis - Find Articles
		Carter, the highly accomplished type designer (featured in Graphic 325), is a contemporary of Gibson's.
		Both made the Chelsea Hotel scene in the late '60s-Gibson as a resident and Carter as a frequent reveller.
		Matthew Carter: I could tell from your previous books that the forms and arrangement of letters are interests of yours.
	www.findarticles.com /p/articles/mi_qa3992/is_200109/ai_n8994945 (1109 words)

	Typespotting – Verdana
		Matthew Carter started with a very serious handicap, for his father, Harry Carter, was both a great scholar in the world of type and printing, and a type designer of extraordinary skill.
		It is said that Harry Carter learned Dutch on the boat from Harwich to Hook of Holland, and Hebrew making his way to Palestine in a variety of planes and boats during the second World War.
		In all Matthew admits to having designed 23 faces, and some of these are families.
	www.microsoft.com /typography/css/gallery/specmatt.htm (582 words)

	The Yale Typeface
		Carter shares his expertise with the University as a Senior Critic on the Graphic Design faculty, Yale School of Art, where he has served for more than twenty–five years.
		Carter and Cone have produced types on commission for Apple, Microsoft (the screen fonts Verdana and Georgia), Time, Newsweek, Wired, U.S. News and World Report, Sports Illustrated, The Washington Post, The Boston Globe, The Philadelphia Inquirer, The New York Times, BusinessWeek, and the Walker Art Center.
		Carter is a Royal Designer for Industry, a member of AGI, and chairman of the type designers’; committee of ATypI.
	www.yale.edu /printer/typeface/designer.html (330 words)

	Identifont - Matthew Carter
		Carter and Cone have produced types on commission for Apple, Microsoft (the screen fonts Verdana, Tahoma, and Georgia), Time magazine, Wired, Newsweek, U.S. News and World Report, Sports Illustrated, The Washington Post, The Philadelphia Inquirer, The Boston Globe, The New York Times, El País, and the Walker Art Center.
		Carter is a Royal Designer for Industry, a member of AGI, chairman of the type designers' committee of ATypI, and a Senior Critic on Yale's Graphic Design faculty.
		He has received the Frederic W. Goudy Award for outstanding contribution to the printing industry, the Middleton Award from the American Center for Design, a Chrysler Award for Innovation in Design, and medals from the AIGA and the Type Directors Club.
	www.identifont.com /show?16K (270 words)

	Georgia & Verdana - typefaces for the screen - www.will-harris.com (Site not responding. Last check: 2007-10-11)
		Georgia, Carter's new screen serif, is perhaps an even more remarkable feat than Verdana.
		The Verdana family started in early Summer 94 as a two font typeface (Tahoma), designed by Matthew Carter and hinted by Tom Rickner, to be used as a system font for Windows95.
		Matthew Carter has designed or resurrected many popular typefaces including ITC Galliard, Snell Roundhand, Cochin, ITC Charter, Bell Centennial and more.
	www.will-harris.com /verdana-georgia.htm (2303 words)

	AIGA Boston - Typographically Speaking: The Art of Matthew Carter
		This project examines the significant contributions of type designer Matthew Carter and the impact he has had on the field of visual communications.
		Carter is one of the pre-eminent type desingers of the 20th century and a historian of printing.
		Typefaces to his credit include ITC Galliard, and Verdana, likely to be ranked as one of the most significant design contributions of the 20th century.
	boston.aiga.org /events/2003/01/2027909 (258 words)

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