Matthew Carter

Recent articles about Matthew Carter

Old school layout

Issue 82, Winter 2012

Feature

Every fortnight, art director Tony Rushton and editor Ian Hislop lay out Private Eye in a way…

The line of beauty

Issue 83, Summer 2012

Feature

Script typefaces, currently enjoying an unprecedented popularity, bring a vital element of…

Unfurling artwords

Issue 59, Spring 2006

Feature

The Walker Art Center has a new identity – multi-voiced, reflexive – that does exactly what it…

Publish and be damned

Issue 82, Winter 2012

Feature

As Private Eye celebrates its best sales figures for 25 years, lifelong subscriber Andrew Billen…

Nameless thing

Issue 57, Autumn 2005

Feature

Tokyo’s TDC rewards work that transcends means, intention, content, context – and just ‘is’…

Reputations: Matthew Carter

Issue 11, Winter 1993

Feature

“Type design had been seen as a brave but arcane business that requires a lifetime’s dedication.…

The digital wave

Issue 7, Summer 1992

Feature

The old manufacturing companies that dominated typeface production through most of this century…

‘Type-only Penguins sell a million’ shock

Issue 54, Winter 2004

Opinion

Penguin uses design to revitalise its back catalogue with Great Ideas and a revived Reference…

Typography’s new priests

Issue 1, Autumn 1990

Review

‘Type90’ brought several hundred typographically preoccupied people to Oxford…

Recent blog posts by Matthew Carter

Tokyo two-track

4 November 2019

The scripts of East and Southeast Asia came to the fore at the annual ATypI conference. John D. Berry reports
Not surprisingly, the 2019 ATypI conference in Tokyo had a large participation by East Asian type foundries, and a significant amount of programming on the various scripts of East and Southeast Asia. This was only the second time ATypI had held its annual conference in Asia, writes John D. Berry.

Noted #46

22 November 2012

Schwitters, typewriting, wood type, the future Detroit Printing Plant and the United Stats of America
This past Friday the last British-made typewriter, the CM-1000, left the Brother factory in Wrexham for London’s Science Museum collection. Eye received a tiny, tactile, hand-printed snake book from Barrie Tullett of The Caseroom Press, wrapped in a typewritten paper sleeve.