A survey of the typefaces of the great Swiss designer who is best known as a peerless designer of sans serif types but who was equally at home among the serifs. His designs amount to a conspectus of virtually every style of text type in which the Latin alphabet has found expression.

The passing of Adrian Frutiger last year took from us a giant of a critical period of typographic history: the transition from metal foundry type, via photocomposition, to the digital world we now live in. He led the way through a technical revolution with standards of design that never wavered, putting before the reader typefaces that were as beautiful as they were functional. As a friend said of him, he was a designer with the equivalent of a musician’s perfect pitch; his hand could not draw a bad line.

Matthew Carter is a type designer with 60 years’ experience in typographic technologies, ranging from hand-cut punches to computer fonts. After a long association with the Linotype companies he was a co-founder of Bitstream Inc. in 1981, a digital type foundry where he worked for ten years. Carter is now a principal of Carter & Cone Type Inc., designers and producers of original typefaces, in Cambridge, Massachusetts. He received the TDC Medal in 1997.

Carter’s type designs include ITC Galliard, Snell Roundhand and Shelley scripts, Helvetica Compressed, Olympian, Bell Centennial, ITC Charter, Mantinia, Sophia, Big Caslon, Big Moore, Miller, Roster, Georgia, Verdana, Tahoma, Sitka and Carter Sans.

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