Matthew Carter

Carter grew up in London, the son of Harry Carter, a 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.

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.

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 period of their upbringing:

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.'{{cite book|last1=Mosley|first1=James|chapter=Reviving the Classics: Matthew Carter and the Interpretation of Historical Models|editor1-last=Mosley|editor1-first=James|editor2-last=Re|editor2-first=Margaret|editor3-last=Drucker|editor3-first=Johanna|editor4-last=Carter|editor4-first=Matthew|title=Typographically Speaking: The Art of Matthew Carter|date=2003|publisher=Princeton Architectural Press|isbn=9781568984278|pages=31–34|chapter-url=https://books.google.com/books?id=WqXd_w4S4SsC&pg=PA32|access-date=30 January 2016}}

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.{{cite web|last1=Walters|first1=John|title=Matthew Carter's timeless typographic masthead for Private Eye magazine|url=http://www.eyemagazine.com/blog/post/type-tuesday26|website=Eye|access-date=24 August 2015}}{{cite book|last=MacQueen|first=Adam|title=Private Eye The First 50 Years An A-Z|year=2011|publisher=Private Eye Productions Limited|page=180}} 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.{{cite web|last1=Carter|first1=Matthew|title=Carter's Battered Stat|url=http://www.eyemagazine.com/feature/article/carters-battered-stat|website=Eye|access-date=5 February 2016}}{{cite web|title=Old School layout|url=http://www.eyemagazine.com/feature/article/old-school-layout|website=Eye Magazine|access-date=22 February 2016}} He also did early work for Heathrow Airport.{{cite web|last1=Webster|first1=Garrick|title=Matthew Carter Interview|url=http://www.creativebloq.com/computer-arts/matthew-carter-1118715|website=Creative Bloq|date=19 January 2011 |access-date=22 February 2016}}{{cite web|last1=Soar|first1=Matt|title=Excoffon's Autograph|url=http://www.eyemagazine.com/feature/article/excoffons-autograph|website=Eye Magazine|access-date=22 February 2016}}

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.{{cite web|last=Shaw|first=Paul|author-link=Paul Shaw (design historian)|title=Flawed Typefaces|url=http://www.printmag.com/featured/flawed-typefaces/|website=Print magazine|date=12 May 2011 |access-date=30 June 2015}} 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."{{cite book|last1=Drucker|first1=Margaret Re; essays by Johanna|last2=Mosley|first2=James|title=Typographically speaking : the art of Matthew Carter|date=2003|publisher=Princeton Architectural Press|url=https://books.google.com/books?id=WqXd_w4S4SsC&pg=PA33|location=New York|isbn=978-1-56898-427-8|page=33|edition=2.}}{{cite web|last1=Mosley|first1=James|author-link=James Mosley|title=Garamond or Garamont|url=http://typefoundry.blogspot.co.uk/2011/04/garamond-or-garamont.html|website=Type Foundry blog|access-date=3 December 2015}}

Carter also advised IBM as an independent consultant in the 1980s.{{cite web|last1=Shaw|first1=Paul|title=Some history about Arial|url=http://www.paulshawletterdesign.com/2011/09/blue-pencil-no-18%E2%80%94some-history-about-arial/|website=Paul Shaw Letter Design|access-date=22 May 2015}}

File:Matthew Carter, RIT NandE Vol18Num3 1986 Oct9 Complete.jpg Flamande typeface, circa 1986]]

In 1981, Carter and his colleague Mike Parker created Bitstream Inc. 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 the history of type".{{cite web|last1=Devroye|first1=Luc|author-link=Luc Devroye|title=Bitstream|url=http://luc.devroye.org/fonts-27538.html|website=Type Design Information Page|access-date=22 February 2016}} In his role at Bitstream, Carter designed typefaces, such as Charter, and commissioned others such as Iowan Old Style from John Downer.{{cite web|title=Alastair Johnston interviews John Downer|url=http://media.freshjive.net/JOHN_DOWNER_FULL_INTERVIEW.pdf|website=Alastair Johnston|access-date=21 February 2016|archive-date=20 December 2016|archive-url=https://web.archive.org/web/20161220065047/http://media.freshjive.net/JOHN_DOWNER_FULL_INTERVIEW.pdf|url-status=dead}} Bitstream would ultimately be acquired by Monotype in 2012.{{cite web|url=http://www.nasdaq.com/article/monotype-closes-purchase-of-bitstreams-font-business-for-50-mln-lifts-fy-view-20120319-01557 |title=Monotype Closes Purchase of Bitstream's Font Business For $50 Mln; Lifts FY View |access-date=26 March 2012 |date=19 March 2012 |work=Market Headlines web site |publisher=NASDAQ }}{{cite web |url=http://ir.monotypeimaging.com/releasedetail.cfm?ReleaseID=658188 |title=Monotype Imaging Completes Acquisition of Bitstream's Font Business |access-date=26 March 2012 |date=19 March 2012 |work=press release |publisher=Monotype Imaging |url-status=dead |archive-url=https://web.archive.org/web/20120408120109/http://ir.monotypeimaging.com/releasedetail.cfm?ReleaseID=658188 |archive-date=8 April 2012 |df=dmy-all }}

Carter left Bitstream in 1991 and in 1992 formed the Carter & Cone type foundry with Cherie Cone.{{cite web|last1=Carter|first1=Matthew|last2=Spiekermann|first2=Erik|title=Reputations: Matthew Carter|url=http://www.eyemagazine.com/feature/article/reputations-matthew-carter|website=Eye Magazine|access-date=22 February 2016}} 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.{{cite web|last1=Mosley|first1=James|title=Scotch Roman|url=http://typefoundry.blogspot.co.uk/2007/02/scotch-roman.html|website=Type Foundry|access-date=22 February 2016}}{{cite web|url=http://type101.fontbureau.com/new-faces-in-washington/|publisher=Font Bureau|title=New Faces in Washington|last=Lew|first=Kent|date=29 October 2009|access-date=22 January 2011|archive-date=11 July 2011|archive-url=https://web.archive.org/web/20110711015410/http://www.fontbureau.com/blog/new-faces-in-washington/|url-status=dead}} 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.{{cite web|last1=Connare|first1=Vincent|author-link=Vincent Connare|title=Comments on Typophile thread ...|url=http://typophile.com/node/75410|website=Typophile|access-date=22 February 2016|archive-date=13 December 2017|archive-url=https://web.archive.org/web/20171213192616/http://www.typophile.com/node/75410|url-status=dead}}{{cite web|title=Miller|url=http://www.fontbureau.com/fonts/Miller/styles/|website=Font Bureau|access-date=12 May 2015}}{{cite journal|url=http://www.printinghistory.org/publications/newsletter/APHA-newsletter-173.pdf|journal=APHA Newsletter|issue=173|year=2010|publisher=American Printing History Association|title=Matthew Carter's Type Revivals Talk at the TDC|access-date=22 January 2011|url-status=dead|archive-url=https://web.archive.org/web/20110721091616/http://www.printinghistory.org/publications/newsletter/APHA-newsletter-173.pdf|archive-date=21 July 2011|df=dmy-all}} 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."{{cite web|last1=Middendorp|first1=Jan|title=Matthew Carter interview|url=http://www.myfonts.com/newsletters/cc/201310.html|website=MyFonts|publisher=Monotype|access-date=11 July 2015}}

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. 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." 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.{{cite web|title=Charter Pro|url=http://www.myfonts.com/fonts/bitstream/charter-bt-pro/|website=MyFonts|publisher=Monotype|access-date=28 September 2014|url-status=dead|archive-url=https://web.archive.org/web/20141006082217/http://www.myfonts.com/fonts/bitstream/charter-bt-pro/|archive-date=6 October 2014|df=dmy-all}}{{cite web|title=Big Caslon promotional page|url=http://bigcaslon.webtype.com/|publisher=Font Bureau|access-date=27 July 2015|archive-date=3 July 2015|archive-url=https://web.archive.org/web/20150703084257/http://bigcaslon.webtype.com/|url-status=dead}} 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.{{cite web|last1=Ford|first1=Colin M.|title=Carter Sans|url=http://typographica.org/typeface-reviews/carter-sans/|website=Typographica|access-date=6 November 2016}}{{cite web|last1=Reynolds|first1=Dan|title=Carter Sans|url=http://www.typeoff.de/2011/01/carter-sans-typeface/|website=Typeoff|date=18 January 2011 |access-date=6 November 2016}}{{cite web|last1=Shaw|first1=Paul|title=An Interview With Matthew Carter|url=http://www.printmag.com/interviews/an-interview-with-matthew-carter/|website=Print magazine|date=2 March 2011 |access-date=6 November 2016}} 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.{{cite web|last1=Shaw|first1=Paul|title=Overlooked Typefaces|url=http://www.printmag.com/imprint/overlooked-typefaces/|website=Print magazine|date=10 February 2011 |access-date=2 July 2015}}

File:HWT Van Lanen.png

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."

File:Yale University logo.svg logo, designed in Carter's typeface, Yale]]

Carter has taught on Yale University's graphic design programme since 1976.{{cite web|url=http://art.yale.edu/MatthewCarter|title= Matthew Carter, Type Designer|publisher=Yale School of Art|access-date=25 January 2013}} He also designed the university's corporate typeface, Yale, at the request of John Gambell, the University Printer.{{cite web|last1=Jackson|first1=Brandon|title=The Yale Type|url=http://www.thenewjournalatyale.com/2012/04/the-yale-type/|website=The New Journal|date=13 April 2012 |publisher=Yale University|access-date=30 June 2015}}{{cite web|title=A brief history of the Yale typeface|url=http://www.yale.edu/printer/typeface/history.html|website=Yale Printer|access-date=16 August 2015}}{{cite web|url=http://yaledailynews.com/blog/2008/04/15/whats-in-a-yale-typeface/|title=What's in a (Yale) Typeface?|first=Paul|last=Needham|date=15 April 2008|work=Yale Daily News|access-date=25 January 2013}} 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.{{cite web|url=http://imprint.printmag.com/typography/an-interview-with-matthew-carter/|date=2 March 2011|title=An Interview With Matthew Carter|work=Print|first=Paul|last=Shaw|access-date=25 January 2013|archive-date=9 March 2012|archive-url=https://web.archive.org/web/20120309082338/http://imprint.printmag.com/typography/an-interview-with-matthew-carter/|url-status=dead}} Carter wrote that:

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.

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.{{cite web |url=http://www.wickedlocal.com/cambridge/news/x2084591041/Cambridge-font-man-wins-MacArthur-grant |title=Cambridge font man wins MacArthur grant |archive-url=https://web.archive.org/web/20120415075748/http://www.wickedlocal.com/cambridge/news/x2084591041/Cambridge-font-man-wins-MacArthur-grant |archive-date=15 April 2012 |url-status=dead |date=7 October 2010 |author=Gillian Rich|work=Wicked Local Cambridge |publisher=GateHouse Media |location=Perinton, New York }}

On 26 May 2011, he received the Lifetime Achievement Award from the National Design Awards at the White House.[https://web.archive.org/web/20150908135502/http://www.fontbureau.com/blog/carter-design-lifetime-achievement/ Matthew Carter Receives 2011 National Design Award for Lifetime Achievement]{{cite news |title=Honoring a Designer Who Gave Computers Their Fonts (Published 2011) |work=The New York Times |date=25 May 2011 |archive-url=https://web.archive.org/web/20230407021457/https://www.nytimes.com/2011/05/26/garden/cooper-hewitt-award-for-a-typeface-designer-currents.html |archive-date=2023-04-07 |url-status=live |url=http://www.nytimes.com/2011/05/26/garden/cooper-hewitt-award-for-a-typeface-designer-currents.html |last1=Lasky |first1=Julie }}

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.{{cite web|last1=Mosley|first1=James|author-link=James Mosley|title=The materials of typefounding|url=http://typefoundry.blogspot.co.uk/2006/01/materials-of-typefounding.html|website=Type Foundry|access-date=14 August 2015}}

Carter was appointed Commander of the Order of the British Empire (CBE) in the 2020 Birthday Honours for services to typography and design.{{London Gazette|issue=63135|supp=y|page=B9|date=10 October 2020}}{{cite web |title=Queen's Birthday Honours |url=https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/925348/Queen_s_Birthday_Honours_List_2020.csv/preview |website=gov.uk |access-date=10 October 2020}}

Image:CarterFaces.png

Matthew Carter's typefaces include the following:

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• Alisal{{cite web|title=Alisal|url=http://www.myfonts.com/fonts/mti/alisal/|website=MyFonts|publisher=Monotype|access-date=22 February 2016}}
• Bell Centennial{{cite web|title=Bell Centennial|url=http://www.myfonts.com/fonts/adobe/bell-centennial/|website=MyFonts|publisher=Adobe/Linotype|access-date=22 February 2016}}
• Big Caslon{{cite web |publisher=The Museum of Modern Art |url=http://www.moma.org/collection/browse_results.php?object_id=139308 |title=MoMA – The Collection – Matthew Carter. Big Caslon. 1993 }}{{cite web|url=http://new.myfonts.com/fonts/fontbureau/big-caslon/ |title=Big Caslon – Desktop font " MyFonts |publisher=New.myfonts.com |date=1 January 2000 |access-date=22 October 2012 |url-status=dead |archive-url=https://web.archive.org/web/20090307203032/http://new.myfonts.com/fonts/fontbureau/big-caslon/ |archive-date=7 March 2009 }}{{cite web|title=Big Caslon FB|url=http://www.fontbureau.com/fonts/BigCaslonFB/|publisher=Font Bureau|access-date=23 June 2015}}{{Dead link|date=May 2025 |bot=InternetArchiveBot |fix-attempted=yes }}{{cite web|title=Big Caslon|url=http://fontsinuse.com/typefaces/555/big-caslon|website=Fonts in Use|access-date=30 August 2015}}
• Big Figgins
• Big Moore
• Carter Sans
• Cascade Script{{cite web|title=Cascade LT|url=http://www.myfonts.com/fonts/adobe/cascade/|website=MyFonts|publisher=Linotype|access-date=22 February 2016|archive-date=3 March 2016|archive-url=https://web.archive.org/web/20160303121457/http://www.myfonts.com/fonts/adobe/cascade/|url-status=dead}}
• Charter{{cite web | url=http://practicaltypography.com/charter.html | title=Charter | last1=Butterick | first1=Matthew | year=2013 | website=Butterick's Practical Typography | access-date=1 August 2013}}
• Cochin (adaptation){{cite web|title=Cochin|url=http://www.myfonts.com/fonts/adobe/cochin/|website=MyFonts|publisher=Linotype/Adobe|access-date=22 February 2016|archive-date=1 March 2016|archive-url=https://web.archive.org/web/20160301184509/http://www.myfonts.com/fonts/adobe/cochin/|url-status=dead}}
• Elephant (later republished as Big Figgins)

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• Fenway
• DTL Flamande
• ITC Galliard
• Gando
• Georgia{{cite web |url=http://www.slate.com/articles/arts/art/2007/05/the_helvetica_hegemony.html |title=The Helvetica Hegemony: How an unassuming font took over the world |first=Mia |last=Fineman |date=25 May 2007 |publisher=Slate}}
• Helvetica Compressed{{cite book|last1=Drucker|first1=Margaret Re; essays by Johanna|last2=Mosley|first2=James|title=Typographically speaking : the art of Matthew Carter|date=2003|publisher=Princeton Architectural|location=New York|isbn=9781568984278|page=53|edition=2.}}
• Helvetica Greek
• Mantinia{{cite web |publisher=The Museum of Modern Art |url=http://www.moma.org/collection/browse_results.php?object_id=139309 |title=MoMA – The Collection – Matthew Carter. Mantinia. 1993 }}{{cite web|title=Mantinia FB|url=http://www.fontbureau.com/fonts/Mantinia/|publisher=Font Bureau|access-date=22 February 2016}}
• Meiryo (Latin range)

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• Miller{{cite web |publisher=The Museum of Modern Art |url=http://www.moma.org/collection/browse_results.php?object_id=139310 |title=MoMA – The Collection – Matthew Carter. Miller. 1997 }}
• Monticello{{cite web|last1=Berry|first1=John D.|title=Mr. Jefferson's Typeface|url=http://creativepro.com/dot-font-mr-jeffersons-typeface/|website=Creative Pro|access-date=22 April 2016}}
• Nina
• Olympian{{cite web|title=Olympian|url=http://www.myfonts.com/fonts/linotype/olympian/|website=MyFonts|publisher=Linotype|access-date=22 February 2016}}
• Rocky{{cite web|title=Rocky FB|url=http://www.fontbureau.com/fonts/Rocky/|publisher=Font Bureau|access-date=22 February 2016}}
• Roster
• Shelley Script{{cite web|title=Shelley Script|url=http://www.myfonts.com/fonts/adobe/shelley-script/|website=MyFonts|publisher=Adobe/Linotype|access-date=22 February 2016}}{{Dead link|date=May 2025 |bot=InternetArchiveBot |fix-attempted=yes }}
• Sitka
• Snell Roundhand
• Skia

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• Sophia{{cite web|title=Sophia FB|url=http://www.fontbureau.com/fonts/Sophia/|publisher=Font Bureau|access-date=22 February 2016}}
• Stilson{{cite web|title=Stilson FB|url=http://www.fontbureau.com/fonts/Stilson/|publisher=Font Bureau|access-date=22 February 2016}}
• Tahoma
• Van Lanen{{cite web|last1=Carter|first1=Matthew|title=Yin and Yang|url=http://www.eyemagazine.com/feature/article/yin-and-yang|website=Eye Magazine|access-date=22 February 2016}}{{cite web|title=HWT Van Lanen|url=http://www.myfonts.com/fonts/hwt/hwt-van-lanen/|website=MyFonts|publisher=Hamilton Wood Type and Printing Museum|access-date=22 February 2016}}
• Verdana{{cite web |publisher=The Museum of Modern Art |url=http://www.moma.org/collection/browse_results.php?object_id=139312 |title=MoMA – The Collection – Matthew Carter. Verdana. 1996 }}
• Vincent
• Walker{{cite web |publisher=The Museum of Modern Art |url=http://www.moma.org/collection/browse_results.php?object_id=139311 |title=MoMA – The Collection – Matthew Carter. Walker. 1995 }}
• Wilson Greek
• Yale

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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.{{cite web|last1=Devroye|first1=Luc|title=Matthew Carter|url=http://luc.devroye.org/fonts-26320.html|website=Type Design Information Page|access-date=22 February 2016}} 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'.{{cite web|title=Roster: A Square-Shouldered Powerhouse in 60 Styles|url=http://www.fontbureau.com/blog/roster-new-release/|publisher=Font Bureau|access-date=22 February 2016|url-status=dead|archive-url=https://web.archive.org/web/20160215203620/http://www.fontbureau.com/blog/roster-new-release/|archive-date=15 February 2016|df=dmy-all}}

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.

• List of AIGA medalists
• Art Directors Club Hall of Fame

{{reflist|30em}}

• Eye, No. 11, Vol. 3, edited by Rick Poynor, Wordsearch Ltd, 1993.
• {{cite book |title=An A-Z of Type Designers |first=Neil |last=Macmillan |isbn=1856693953 |publisher=Laurence King Publishing |year=2006}}, p. 62.

• [https://www.myfonts.com/collections/matthew-carter MyFonts]
• [https://web.archive.org/web/20130828210842/http://www.will-harris.com/verdana-georgia.htm Georgia & Verdana – Typefaces for the screen]
• [https://web.archive.org/web/20080723183034/http://www.monotypeimaging.com/ProductsServices/TypeDesignerShowcase/MatthewCarter/ Type Designer Showcase biography at Monotype Imaging]
• [http://www.designmuseum.org/design/matthew-carter Designing Modern Britain exhibition biography]
• {{TED speaker}}
• [http://www.ted.com/talks/matthew_carter_my_life_in_typefaces TED Talk: Matthew Carter: My life in typefaces (TED2014)]
• [http://www.eyemagazine.com/feature/article/reputations-matthew-carter Mathew Carter in conversation with Erik Spiekermann, Eye No. 11]
• [http://tmagazine.blogs.nytimes.com/2011/02/02/graphic-content-carter-sans/ Graphic Content: Carter Sans], by Steven Heller, New York Times, 2 February 2011
• [http://luc.devroye.org/myfonts-matthewcarter-/ Matthew Carter] – collection of material by Luc Devroye
• [http://luc.devroye.org/fonts-26319.html Carter & Cone] (Luc Devroye's website)
• [http://www.carterandcone.com/ Carter & Cone]

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{{DEFAULTSORT:Carter, Matthew}}

Category:1937 births

Category:AIGA medalists

Category:English typographers and type designers

Category:English emigrants to the United States

Category:MacArthur Fellows

Category:Designers from London

Category:British letter cutters

Category:Living people

Category:Commanders of the Order of the British Empire

Category:Royal Designers for Industry