Typography is a vital part of graphic design, and the expansion of this field has provided current artists with almost limitless possibilities. Researching type styles is important because it adds diversity to a graphic artist’s work and it may possibly provide inspiration for creating one’s own font designs. There are many type designers, both past and present, who have had a great impact on the field and who are worthy of studying. One of those designers is Matthew Carter
Matthew Carter, born in 1937 in England, has typography in his blood. His father, Harry, was also a respected typography designer, specializing in punch cut procedure. Matthew Carter had considered attending Oxford with the intention of obtaining a degree in English Literature, but ultimately, his interest in typography prevailed, and he began an internship at the prestigious Enschede Printing House in Haarlem (AIGA, 2014). Carter immersed himself in the type industry and eventually became a free-lance designer based in London.
Carter has achieved great recognition in his field. He has worked with other notable designers, including Paul Radisch, Mike Parker, and Cherie Cone. He was co-founder of the innovative design studio Bitstream, which he founded in 1981 with Parker, and in 1994, he formed Carter & Cone with Cherie Cone. More recently, he has been a contributing designer with Microsoft; his work for Microsoft includes Georgia and Verdana. Carter has received numerous awards for his work including The Type Director’s Club Medal of Excellence in 1997 and the 2010 MacArthur Fellowship (myfonts.com, 2014). His work has influenced many current type designers.
The fonts that Carter has designed are known by everyone who has a computer. They are the typeface...
... middle of paper ...
...eating innovative and effective types. His work reflects his respect for the history of typography, and he has clearly been influenced by artists, printers, and writers (Design Museum, 2005). More importantly, Carter demonstrates the importance of font selection as a means of conveying mood and theme. His work ranges from classic Greek to space age modern, and each font has its own special nuances that give it a unique appearance. Matthew Carter has provided a valuable set of tools for all graphic designers to infuse into their work.
Works Cited
“Matthew Carter” Design Museum, 2005. Online 60may 2014. http://designmuseum.org/design/matthew-carter “Matthew Carter” myfonts.com. Online 6 May 2014.http://www.myfonts.com/person/Matthew_Carter/
Miller, J. Abbott. “Matthew Carter” AIGA, 1997. Online 5 May 2014.
http://www.aiga.org/medalist-matthewcarter/
Let us look at a typical piece of Carter' s writing The Magic Toyshop and its specific
By being educated at a young age in literacy, I included it in my pottery and also working for newspaper companies strengthened my form of expression. Working in the South Carolina Republican and then later on The Edgefield Hive as a typesetter, it was a good experience helping my literacy skills but I didn’t feel fully indulged. I did it because I had to but also to learn. By understand typography, I was able to understand the science of the anatomy of type. They taught me the use of size, spacing, and placement of typography in order to show hierarchy, direction and attraction. I became to understanding that type is a collective of shapes and strokes. Master Abner 's newspaper did not get a lot of publicity and hit a crisis, which led him to cease publication of the newspapers. Master Abner then moved to Columbia, South Carolina, in 1832. He decided to leave me back in Edgefield and...
His letters themselves were works of art. He used codes and symbols as easily as normal people print the alphabet. It was thought at the beginning that the letters were in Zodiac's own handwriting. Later on, the theory was that he was using samples of alphabet letters taken from other people. He then used a tracing and enlarging device to reprint the letters.
Carson is a designer whose unorthodox graphic style played a major role in his success in the design world. His sense of typography is original and unique in a way that he does not follow the basis of communication design. For example, his arrangement of text is not what we would normally see which is in order but positioned in disarray creating chaos and confusion which is new and refreshing. His use of interesting visual simultaneously with typography creates an out of the ordinary design where sometimes the images are deliberately obscuring the text that goes with it and occasionally creating an unfinished sentence or word.
6. McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man. [Toronto]: University of Toronto Press, 1962.
Next Inc. was a computer company founded by the one of the creators of the Apple computer, Steve Jobs in 1985. The company’s main focus was higher education and business markets. In 1986 Jobs hired Rand to develop the logo for the computer company. When Rand received approval from IBM—where he was still a design consultant—Jobs paid Rand the money to design a project that was not completely public. He received $100,000 to do it (Eckstein). Rand himself knew nothing about the project except for the fact that the next computer was a black cube. Rand set to work (Heller). He made a one hundred page brochure that analyzed different takes on the new brand. He also incorporated an exact angle for the shape of the logo: twenty-eight degrees. Rand
Massimo Vignelli was an Italian designer who worked in a varying range of areas such as package design, advertising, industrial, interior, architectural design and the list goes on. Vignelli was also the co-founder of Vignelli Associates, which he started with his wife Lella some years after coming to America. Vignelli’s wide area of work and expertise has all helped contribute to make him a designer of interest. He has had works that have been published all around the world and throughout many museums as well.
Graphic designer and typographer Stefan Sagmeister has always had a unique way of viewing the world, therefore has created designs that are both inventive and controversial. He is an Austrian designer, who works in New York but draws his design inspiration while traveling all over the world. While a sense of humor consistently appears in his designs as a frequent motif, Sagmeister is nonetheless very serious about his work. He has created projects in the most diverse and extreme of ways as a form of expression. This report will analyse three of Stefan’s most influential designs, including the motives and messages behind each piece.
Typeface designer Adrian Frutiger was an exceptional designer who created some of today’s most used typefaces. Born 1928 in Interlaken, Switzerland. Frutiger is a well-versed designer who has worked in photographic and digital typesetting as well as designing typeface. He got his start by age 16 as a printer’s apprentice, and, after that, furthered his education at the Zurich School of Arts and Crafts. From 1948 to 1951 he studied sculpture and design, but his primary focus was calligraphy. After schooling, he worked for Deberny & Peignot in 1952. Frutiger has built a legacy that has changed the world of type. In his lifetime he has designed more than one hundred and seventy typefaces, many which have
This paper will argue that the industrial revolution allowed for the proliferation of fonts in the 19th century for two main reasons. First, there was an unprecedented need for new and eye-catching lettering to grab the attention of consumers a new variety of choices on the market. Secondly, the creation of new fonts was more affordable than ever due to the advancements in technology during the industrial revolution.
Width and weight: the design of Futura, based on the elemental forms, is a wide typeface with considerable variations (X=70%) in width,
King Francis used Garamond to cut a Greek type. From 1545 and on Garamond also works as a publisher, the first book he published was, “Pia Et Religiosa Meditatio” by david Chambellan. The typefaces that Garamond created between 1530 to 1545 were considered the typographical spark of the 16th century. His fonts are still used today and have been copied in different was over the years.
o Modern crisp fonts have been used in the main body of the text so
The average height of handwriting is five millimeters. As a reference point the lines on a typical loose-leaf piece of paper are seven millimeters apart. Large handwriting which ranges from five to ten millimeters corresponds to the writers' need for expansion. He is vain. However, his imagination is large and fertile. His concern for the readability of his handwriting denotes his honesty. On the other hand, small handwriting - two to five millimeters - reveals the writers' attention for detail. The writers' intelligence is acute however he is relatively closed-minded. A succession of large and small letters is a sign of an emotional and unstable person.
He recently took a sabbatical from his job in order to actually work on a travelling funfair and experience the highs and lows of that most noble and nomadic of professions. His experiences are what inspired the book, which explores a dizzying array of artistic and typographic styles, and aims to uncover the history and inspiration behind such an overlooked art form. Nigel kicked off his campaign in earnest 10 days before the Kickstarter opened, by unveiling a daily countdown from 10, which used numbers culled from the book itself. His aim is simple: to uncover the work of some of the most talented, yet unrecognised artists in the