Fonts of Matthew Carter in the Linotype Library
The renowned British designer Matthew Carter has worked as a type designer for over 40 years. His designs are suitable for an astonishing array of applications; many of them are already world-famous and the recipients of countless awards.
More about the fonts:
Bell Centennial
Bell Centennial font was created by Matthew Carter in 1976 for the American telephone company Bell. Its bold, clear characters make it an extremely legible and distinctive font.
Cascade Script™
Cascade Script is a reserved yet cheerful calligraphy typeface with slightly angular outlines and the look of having been drawn with a broad tipped pen. It invokes the 1940s, which saw the origins of the modern printing typefaces used mostly in the advertising industry. The agreeable Cascade Script with its lively and balanced forms is particularly good for short texts and headlines.
ITC Charter™
ITC Charter is a traditional old style type with a few nontraditional characteristics. Charter font was designed as a highly legible text typeface for use on both laser writers and high resolution imagesetters.
ITC Galliard®
ITC Galliard font is a contemporary adaptation of Robert Granjon’s 16th century design. "The result was not a literal copy of any one of Granjon’s faces, more a reinterpretation of his style," says Carter. ITC Galliard font captures the vitality of Granjon’s work in a graceful, modern typeface.
Olympian™
After the Second World War, the Ionic style replaced Modern Face as the favored typeface for newsprint. A couple decades later, it was in turn replaced by the next generation of newspaper fonts, a mix of Old Face, Transitional and Modern Face forms. Olympian font itself tends toward the Old Face style but is nevertheless an example of this new generation, a result of a time of change and experimentation.
Shelley™ Script
Matthew Carter designed the Shelley family 1972 for Mergenthaler Linotype to be used as a new script face for the photo typesetting machines. The basic idea was to create one script face that would offer dfferent elegant letterforms. 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.
All three versions can be easily mixed to give the text a more individual calligraphic look
Besides Shelley Linotype Zapfino™ from Hermann Zapf shows similar basics, but in a totally different letterform. In Linotype Zapfino the individual lowercase letters from the four different versions have different letterforms which gives the text an even more individual touch.
Snell Roundhand™
Conception and design of Snell Roundhand were both based on the 18th century round hand scripts. The font has an elegant and festive feel and its capitals can also be used as initials mixed with other alphabets. Snell Roundhand Script is well-suited to middle length texts and headlines.
More about the fonts:
Bell Centennial
Bell Centennial font was created by Matthew Carter in 1976 for the American telephone company Bell. Its bold, clear characters make it an extremely legible and distinctive font.
Cascade Script™
Cascade Script is a reserved yet cheerful calligraphy typeface with slightly angular outlines and the look of having been drawn with a broad tipped pen. It invokes the 1940s, which saw the origins of the modern printing typefaces used mostly in the advertising industry. The agreeable Cascade Script with its lively and balanced forms is particularly good for short texts and headlines.
ITC Charter™
ITC Charter is a traditional old style type with a few nontraditional characteristics. Charter font was designed as a highly legible text typeface for use on both laser writers and high resolution imagesetters.
ITC Galliard®
ITC Galliard font is a contemporary adaptation of Robert Granjon’s 16th century design. "The result was not a literal copy of any one of Granjon’s faces, more a reinterpretation of his style," says Carter. ITC Galliard font captures the vitality of Granjon’s work in a graceful, modern typeface.
Olympian™
After the Second World War, the Ionic style replaced Modern Face as the favored typeface for newsprint. A couple decades later, it was in turn replaced by the next generation of newspaper fonts, a mix of Old Face, Transitional and Modern Face forms. Olympian font itself tends toward the Old Face style but is nevertheless an example of this new generation, a result of a time of change and experimentation.
Shelley™ Script
Matthew Carter designed the Shelley family 1972 for Mergenthaler Linotype to be used as a new script face for the photo typesetting machines. The basic idea was to create one script face that would offer dfferent elegant letterforms. 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.
All three versions can be easily mixed to give the text a more individual calligraphic look
Besides Shelley Linotype Zapfino™ from Hermann Zapf shows similar basics, but in a totally different letterform. In Linotype Zapfino the individual lowercase letters from the four different versions have different letterforms which gives the text an even more individual touch.
Snell Roundhand™
Conception and design of Snell Roundhand were both based on the 18th century round hand scripts. The font has an elegant and festive feel and its capitals can also be used as initials mixed with other alphabets. Snell Roundhand Script is well-suited to middle length texts and headlines.
Linotype
