Eye Magazine | Designer | Matthew Carter

Matthew Carter

Recent articles about Matthew Carter

Old school layoutIssue 82, Winter 2012
Feature

	Every fortnight, art director Tony Rushton and editor Ian Hislop lay out Private Eye in a way that’s hardly changed in 50 years
            
The line of beautyIssue 83, Summer 2012
Feature

	Script typefaces, currently enjoying an unprecedented popularity, bring a vital element of humanity to the digital age. By Paul Shaw and Abby Goldstein
            
Unfurling artwordsIssue 59, Spring 2006
Feature

                                            The Walker Art Center has a new identity – multi-voiced, reflexive – that does exactly what it says
            
Publish and be damnedIssue 82, Winter 2012
Feature

	As Private Eye celebrates its best sales figures for 25 years, lifelong subscriber Andrew Billen describes its winning mix of gossip, serious exposés, parodies, cartoons and attention-grabbing covers
            
Nameless thingIssue 57, Autumn 2005
Feature

                                            Tokyo’s TDC rewards work that transcends means, intention, content, context – and just ‘is’
            
Reputations: Matthew CarterIssue 11, Winter 1993
Feature

	“Type design had been seen as a brave but arcane business that requires a lifetime’s dedication. I’m happy that notion has gone”
            
The digital waveIssue 7, Summer 1992
Feature

	The old manufacturing companies that dominated typeface production through most of this century have been swallowed and largely pushed to the sidelines, while initiatives in design – and in the terms and routines that condition design – have been made by a few rapidly growing software and computer hardware companies. Pathbreaking contributions have come from small studios or individual designers working, in every sense, from just a desktop. There have been ‘font wars’, corporate piracy and copyright contravention on a large scale. To use the loose terminology by which we attempt to carve up typographic history, it is clear that during the 1980s, the developed world left behind photographic typography (to which metal had ceded) and entered the era of the ‘digital’
            
‘Type-only Penguins sell a million’ shockIssue 54, Winter 2004
Opinion

	Penguin uses design to revitalise its back catalogue with Great Ideas and a revived Reference Library
            
Typography’s new priestsIssue 1, Autumn 1990
Review

                                                ‘Type90’ brought several hundred typographically preoccupied people to Oxford this summer. Following the successful pattern…

Recent blog posts about Matthew Carter

Tokyo two-track

4 November 2019
Design education, Design history, Graphic design, Typography

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…

Noted #46

22 November 2012
Graphic design, Typography

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…

Type Tuesday: Private Eye

18 October 2011
Design history, Graphic design, Magazines, Technology, Typography

Matthew Carter’s timeless typographic masthead for Private Eye magazine

Tony Rushton has been art director of satirical magazine Private Eye for 49 of its…