He’s arguably the most widely read type designer in the world. Verdana, Georgia,Tahoma, Skia: all ubiquitous, all his. Miller, one of North America’s most popular news faces — his initiative. Bell Centennial, drawn for AT&T, has been used in millions of phone books. His typefaces are all across the stylistic spectrum, from elegant renaissance oldstyles via meticulous scripts to indestructible sans-serifs. Having started as an apprentice at age 19, he has been in the business for the best part of six decades and is still passionately interested in the latest technological developments. He revels in working with demanding technicians and challenging projects. Here is our long-awaited interview with Matthew Carter.
Typography is the art of arranging type into a legible, aesthetically pleasing and design-appropriate layout. In print this is set in stone; the reader can’t change the way the text appears once it’s been printed.
On the web, however, users can adapt their browser settings to increase or decrease the default font size, overwrite font-size choices the designer has made, or change colours to increase contrast. Consequently, you might think that effective typography isn’t possible on the web.
But not only is it possible; in many ways the web offers superior options to traditional typography. Not because as a designer you have finer control over how type is arranged or positioned, but because the web allows users to control the appearance of type to suit their own particular needs.
- Check out our favourite web fonts – and they don’t cost a penny
That doesn’t mean, of course that as a designer you can abscond your responsibility to present beautiful type with carefully considered positioning and properties – many of the rules from print apply to the web. If you need a refresher in that, then you’ll find a rundown of the basics of typography in our article What is typography, but here we’re going to look at the specifics of what web typography (as opposed to print typography) demands…
PicLab HD makes image editing an absolute doddle – enabling you to either snap a photo or grab one from your photo library, then go to town on it. As well as adding typography – lots of fonts and full control over size, positioning, opacity, rotation, and colour – you can layer illustrations, ornamentation and other design elements.
“3 years ago Arnaud and Olivier from Junge Juice asked me, if I’m interested in doing the poster- and flyerdesigns for their awesome parties. Since them I did 26 sets and it grows up to an amazing partnership! Always great Line-ups like Kamo & Crooked, Brookes Brothers, Dirtyphonics, Nero, Loadstar, Lucid and so on.
In a Jar is a display typeface based in hand lettering. Inspired by the grandmother’s kitchen, its colors, forms, smells and the new way for rescue this old things.
Designed for use in short text and big sizes is perfect for brand design, headlines, labels, greetings cards and all kind of things related to kitchen and foods.
In a Jar is a sweet little family that include alternates, compounds words, ligatures plus a serie of dingbats and ornaments very cute to compliment and accentuate the handmade design.
“Minimal” is a term each designer uses on a daily basis. It is characterised by the use of simple or primary forms or structures, especially geometric or massive ones. This concept has become a trend that is associated with clean, focused, and simplified design, most famously encouraged by Apple’s founder, Steve Jobs, who stated:
“That’s been one of my mantras – focus and simplicity. Simple can be harder than complex: You have to work hard to get your thinking clean to make it simple. But it’s worth it in the end because once you get there, you can move mountains.”
Enjoy a little simplicity with our 15 most minimalistic package designs.