Matthew Carter : une vie en typographie (TED, mars 2014)

TED Ideas worth spreading

Type-Design and Changing Technology | Matthew Carter & Roger Black

Type designer and MacArthur Fellow Matthew Carter is principal of Carter & Cone Type Inc. He is also a Royal Designer for Industry, and a Senior Critic on Yale’s Graphic Design faculty. His type designs include ITC Galliard, Snell Roundhand and Shelley scripts, Helvetica Compressed, Olympian (for newspaper text), Bell Centennial (for the US telephone directories), ITC Charter, and faces for Greek, Hebrew, Cyrillic and Devanagari. For Carter & Cone he designed Mantinia, Sophia, Big Caslon, Alisal and Miller. For Microsoft he designed the screen fonts Verdana, Tahoma and Georgia.

For 40 years, working with magazines like Rolling Stone, newspapers like The New York Times and web sites like Bloomberg.com, Roger Black has been developing better ways to communicate content. His teams have redesigned Reader’s Digest, Esquire, Scientific American, the Los Angeles Times and The Washington Post. Black is currently design director of Nomad Editions, a group of digital weeklies, and a partner in the Font Bureau and Danilo Black. In the last year he helped launch four new companies: Webtype, Treesaver, Ready-Media and Nomad Editions.
With support from AIGA: Detroit—the professional association for design.
This lecture took place on March 8, 2012 as part of the University of Michigan School of Art & Design's Penny W. Stamps Distinguished Speaker Series. Established with the generous support of alumna Penny W. Stamps, the Speaker Series brings respected emerging and established artists/designers from a broad spectrum of media to the School to conduct a public lecture and engage with students, faculty, and the larger University and Ann Arbor communities.


UM Art & Design - Penny W. Stamps Distinguished Speaker Series


> Matthew Carter Highligts, Type Directors Club (TdC)

Gerard Unger :: interview | Jan Middendorp

Type design has always been an exacting, highly skilled profession, but that was doubly true in the early days of digital fonts. These faces had to work in highly demanding, challenging environments: CRT monitors, low resolution printers, and in a rapidly evolving newspaper industry. This month we are talking to one of those individuals who tackled the limitations of technology head on. His pioneering techniques, first developed under Wim Crouwel, were later employed by Bitstream and URW, and utilized on road signs and in newsprint, establishing a body of work admired the world over, both for its pragmatic, steely clarity, and its warmth and openness. He has now teamed up with TypeTogether, a foundry run by two of his former students at Reading. It is an honor to welcome Dutch designer Gerard Unger, one of the most original minds in contemporary type design.



Creative Characters #47 June 2011

> La suite est ici.
> Les archives sont là.

Creative Characters : newsletter éditée par Jan Middendorp (“type writer, page maker”) et distribuée par Myfonts.com (Bitstream).

> Le livre : Creative Characters: A Collection of Interviews With Type Designers Originally Published as e-mail Newsletters from MyFonts, vol. 1 (amazon.fr).

The Art of Hermann Zapf

FF Mister K | Julia Sysmäläinen

FF Mister K is a type family and the visualization of a personality. It is inspired by the unique handwriting of Austro-Hungarian writer Franz Kafka and one of the main characters of his novels. Mister K was born in Kafka’s novels … and today is leading his own life as a typeface.




(GIF animé : au besoin cliquer dessus pour qu'il se remue un peu)



> FF Mister K Pro : le site

> FF Mister K Pro @ FontShop

> FF Mister K: Franz Kafka's Pen (The Font Feed)


(GIF animé : un clic pour le secouer)

Les hommes du plomb | France Culture, La Parole à l'oeuvre, 11 et 12 août 2010

Les hommes du plomb 1 : Le secret de la fabrication

Portrait de Jean Chicandre, typographe-pressier de Besançon, grand spécialiste des colophons, ayant débuté le métier à 14 ans dans l'imprimerie familiale qui a évolué vers la photocomposition et l'offset. Aujourd'hui à la retraite, il imprime des ouvrages de bibliophilie sur de vieilles presses à main, choisissant soigneusement son papier, ses caractères, très attentif à la mise en page.
Avec : Pierre Margada, imprimeur et éditeur belge, Gérard Banchard, chancelier des Rencontres de Lures, Jean Hofer, typographe imprimeur d'art.

Les hommes du plomb 2 : Itinéraires typographiques

L'univers de la typographie est un univers à part, qui a ses rites, ses mythes, ses secrets et qui nécessite un long apprentissage.
Visite de l'atelier de Guy Levis Mano(document d'archives INA, 1973).
Avec : Peter Keller, directeur de l'ANCT (Atelier National de Création Typographique), Christian Paput, graveur de poinçons à l'Imprimerie Nationale, Jean-Jacques Aisenman, ancien typo presse, Mauricette Augros, ancienne typo presse, Robert Lévy, ancien typo presse.

Les hommes du plomb 3 : L'esprit de corps

L'univers de la presse avant la grande mutation technologique et le passage à l'impression offset (dans les années 70-80). Les traditions, le caractère du typographe, l'esprit de corporation, la mythologie, l'ambiance de l'atelier , le syndicalisme, l'histoire des travailleurs du livre, l'évolution de la pensée avec l'évolution des techniques d'imprimerie depuis Gutenberg.
Avec : Jean-Jacques Aisenman, Mauricette Augros, Robert Lévy, anciens typo presse
Extrait du film documentaire de la Vidéothèque de la Ville de Paris : Le monde du plomb, d'Hervé Lachize.

Les hommes du plomb 4 : Mort ou reconnaissance de la typographie ?

Pour certains la pensée typographique ne peut pas exister sans le plomb, sur écran. Pour d'autres la technique typographique, avec ses règles et ses usages codifiés, est en train de gagner la bataille de l'ordinateur.

> Télécharger 1 et 2
> Télécharger 2 et 3

Matthew Carter :: 2010 MacArthur Fellow

> MacArthur Foundation

Matthew Carter is a master type designer who crafts letterforms of unequaled elegance and precision for a seemingly limitless range of applications and media. Throughout his career, which spans the migration of text from the printed page to the computer screen, he has pursued typographic solutions for the rapidly changing landscape of text-based communications. He has cut metal letterforms by hand in the manner invented over four centuries ago, created enduring works for machine- and phototypesetting, and produced many of the world’s most widely used digital fonts. To date, Carter has designed over 60 typeface families and over 250 individual fonts reflecting a staggering variety of styles, including revivals of classic type as well as eccentric, expressive, and experimental forms. In settings both specialized and everyday—from art museums to newspapers, works of classical scholarship to websites—his typefaces are read wherever the Latin alphabet is in use and are also employed extensively in languages based in Greek and Cyrillic alphabets. His recent work has focused on developing highly legible fonts for computer screens, including the small screens of low-resolution, handheld devices. While bringing a deep knowledge of the history of his art form to bear on each new project, Carter continues to respond to a stream of new developments in communication technology with a thoroughly modern sensibility.

Matthew Carter is a principal of Carter and Cone Type, Inc., which he co-founded with Cherie Cone in 1991. He trained as a punchcutter at Enschedé and Zonen type foundry (the Netherlands), was a designer at Mergenthaler Linotype (1965–1981), and was co-founder of Bitstream, Inc. (1981–1991), the world’s first independent digital type foundry. Since 1976, he has been a senior critic at the Yale University School of Art.

Beatrice Warde (20 septembre 1900-16 septembre 1969)

> BW sur Wikipedia (en anglais)

Martin Majoor, typedesigner

Typeradio: Interview with Martin Majoor, April 2009

Typeradio: Donald Beekman, Liza Enebeis
Photography: Nina Frey, Britta Mertens
Editing: Britta Mertens

Typeface Design on the Road
TypoBerlin 2005

Martin Majoor is a typographer since 1980. He works in offices in Arnheim and Warsaw. Around 1990 he designed Scala and Scala Sans, followed by FF Seria and FF Nexus. Several awards in 2001 for Seria and Seria Sans. Lecturer at several art schools, and speaker at the AtypI Conferences in Antwerp, Paris, San Francisco, Barcelona und Prague.

At TYPO 2005 Martin Majoor discussed typeface design on the road, posters in the streets of Warsaw, and his favorite vodka from Poland. Before that he opened his presentation with an intimate goodbye to Evert Bloemsma who died surprisingly some days before at the age of 47.

> www.martinmajoor.com & Type blog

Martin Majoor :: interview | Typeradio, 07/09/2009

Martin Majoor discusses his first type and lettering books given to him by his grandfather and his first typeface. He recounts his art school days in Arnhem and his current teaching practice and teaching philosophies. He speaks in regards to the influence of history on his work, the difference between working with text typefaces and display typefaces and his hate for Helvetica. Recorded at the 33pt conference 2009 in Dortmund.

Ecouter : première partie

Martin Majoor discusses the new typeface for the Dutch government (Rijksoverheid Serif and Sans). His differing roles as a book designer and as a type designer. He reflects on the lack of female type designers and in graphic design in general. He speaks about how he names his typefaces as well as his current projects. Recorded at the 33pt conference 2009 in Dortmund.

Ecouter : seconde partie




> MM @ Wikipedia

> www.martinmajoor.com

>> MM @ FontShop

Jos Buivenga :: interview | Typeradio, 31/08/2009

Type designer Jos Buivenga talks about how he got started in type design, his habits and balancing his time for type design with his art direction work. Buivenga shares his thoughts and ideas on selling fonts online, his type design heroes and discusses his type design philosophy and working process. Recorded at the 33pt conference 2009 in Dortmund.

Ecouter

exljbris Font Foundry

blog

Typeradio

Polskie czcionki komputerowe (Polish fonts) Janusz Marian Nowacki

(meaning just "Antiqua of Torun") is a two-element typeface designed by Zygfryd Gardzielewski (1914–2001).
The font is mainly used for typesetting of small prints. Its characteristic features are the widening of vertical stems at the top and the wave-like form of some of the horizontal and diagonal lines as well as of the serifs. Antykwa Torunska was first cast in metal in 1960 in the Grafmasz typefoundry in Warsaw. It was produced in the ordinary, semibold and slanted faces in sizes from 6 to 48 dd.
I began digitizing Antykwa Torunska in early 1995. The first, very poor version was based on a font catalogue. It was a very imperfect source. The next version was based on photocopies of the original design drawings made available to me by Zygfryd Gardzielewski, to whom I am very grateful for this. Version 1.0, which deserves to be called computerised in that it was precise and reused character building elements across the font, was released in 1998 and comprised (similarly as the original) of three faces: upright, bold and italic.
The current distribution was generated using the METATYPE1 tools package authored by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk. Version 2.03 contains a greatly extended character set (e.g., cyrillic, greek, most often used mathematical symbols and currency symbols, additional ligatures), as well as additional typefaces (light, regular, medium and bold in normal and condensed widths).



> Télécharger

Garagisme

Jack Usine > http://www.usine.name

Learning to Set Type (1959)

Minuscule par 256TM | Thomas Huot-Marchand

Le Minuscule est un caractère pour les très petits corps, destiné à un usage en dessous du seuil de lisibilité communément admis (autour de 7 points). Ce travail s’appuie sur les recherches d’Émile Javal, un ophtalmologue du XIXe siècle. À cette échelle, la perte est si importante lors du passage à un corps inférieur que j’ai rapidement décidé de dessiner une version pour chaque corps. Cinq versions ont été créées, optimisées pour les corps 6 (Minuscule Six), 5 (Minuscule Cinq), 4 (Minuscule Quatre), 3 (Minuscule Trois) et 2 pts (Minuscule Deux).

Le Minuscule a reçu le Certificate of Excellence in Type Design du Type Directors Club New-York, dans la compétition de dessin de caractères TDC2 2005 (categorie Text).


http://www.256tm.com
http://www.thomashuotmarchand.com

František Štorm

>> Interview (en anglais) pour la newsletter de Myfonts.com.


>> Interview (en français) sur le site de Planète Typographie.



>> Présentation du caractère Anselm sur le même site.


Storm Type Foundry

Free Font Manifesto (What if a few typefoundries gave away a one good typeface as a gift to humanity?)

Fontin Sans | Exljbris (Jos Buivenga)

Fontin | Exljbris (Jos Buivenga)

Typefoundry :: Documents for the history of type and letterforms | James Mosley