Dhivehi Font Download Button Is

Dhivehi Font Download Button Is

The licence mentioned above the download button is just an indication.

Please look at the readme-files in the archives or check the indicated authors website for details, and contact him if in doubt.

If no authorlicence is indicated thats because we dont have information, that doesnt mean its free.

This new typeface rightfully bears the name of its owner yet it is not exclusive, but available for free.

This connection is rooted in the design process and an exchange between Opara and Jenkins.

Polaris condensed weight was in favor for the museums new branding at first with slight adaptations and adjustments and soon Jenkins was commissioned to execute some of the tweaking himself.

Ultimately the regular weight was too wide and the condensed seemed too narrow; a semi-condensed (beta version) resolved the matter rather swiftly.

It seems likely that Jenkins would have continued to work on that font data; in an interview with Stephanie Murg, however, he pointed out that Cooper Hewitt was drawn entirely from scratch with Polaris merely serving as a rough guide.

This modification becomes apparent most notably in a, c, e, or s.

Jenkins added straight segments to all letters with round shapes, a feature that provides an elegant feel overall (apparently this made the drawing of the italics a nightmare).

Cooper Hewitt and Polaris share the same width in most letters (except for M and W); the tail in Q was changed to a straight stroke crossing the bowl, which is much more adequate for a static sans serif.

In reference to the Latin proverbs e pluribus unum and ex uno plures, Eddie Opara pointed out in a talk at the Greene Space WNYC that the premise was to define a system as one and then allow the public to take it and use it the way they want.

Consequently, the types admission into Cooper Hewitts permanent collection was followed by its accessibility, encouraging the public to use and experience it.

Cooper Hewitt: The Typeface is a serious contemporary interpretation of the static sans serif with very little fuss.

With the reopening of the museum to the day 112 years after Andrew Carnegie and his family moved into the mansion its typeface not only marks the institutions visual identity, but is conceived as an artifact that belongs to the people.

He pursues postgraduate research at the University of Reading and regularly teaches design at UdK Berlin.

You can follow him on Instagram ferdinandulrich and digitaltype.

As is the case with much custom type, this headline version probably wasnt ready for public consumption.

Regardless, I find it important to note that CH retains a unique typeface that doesnt belong to the people.

Working with it firsthand, my biggest beef is with their numeral 5.

I may have to tweak the CSS to lower the baseline of the font.

We appreciate compliments, but dont publish them unless they add to the dialog.

Edited by Stephen Coles and Caren Litherland and designed by Chris Hamamoto.