Cooper Hewitt
Thin
Italic
200
Light
Italic
300
Book
Italic
400
Medium
Italic
500
SemiBold
Italic
600
Bold
Italic
700
Heavy
Italic
900
Characters
Commissioned in 2014 by Pentagram for the comprehensive reinvention of the Cooper Hewitt, Smithsonian Design Museum, this contemporary sans-serif by Chester Jenkins represents a rare convergence of civic patronage and typographic craft. Invited initially to adapt his earlier design, Galaxie Polaris Condensed, Jenkins chose instead to discard the old outlines and draft the entire family afresh, using the existing structural logic merely as a scaffold for letter widths and stem weights. The resulting typeface was not sequestered behind proprietary gates; in an act singularly fitting for a national museum dedicated to the historical and social resonance of design, it was cast freely into the open commons under the SIL Open Font License, offering the institution’s very vocal cords as an unrestricted gift to the reading public.
Anatomically, Cooper Hewitt occupies a thoughtful middle ground between the absolute geometry of the compass and the pragmatic demands of architectural signage. Its letterforms are shaped by modified-geometric curves—arches and shoulders that resist mechanical circularity to adopt a subtly flattened, muscular contour, lending the forms an upright, tectonic stability. Apertures remain wide and hospitable, welcoming ambient light into the interior of the glyphs, while terminals are sheared with clean horizontal and vertical decisiveness that locks characters into an orderly, legible stride. At display sizes across museum vitrines and exterior façades, it commands space with quiet, architectural self-assurance; set in running text, its generous proportions and even stroke distribution yield a clean, unhurried texture that informs without hectoring.
Across its seven weights and accompanying obliques—from the gossamer draughtsmanship of the Thin to the solid, block-like presence of the Heavy—the family maintains an unwavering institutional poise. It does not chase the calligraphic idiosyncrasies of a humanist book hand, nor does it collapse into the antiseptic anonymity that so often haunts twentieth-century corporate grotesques. Instead, it offers a distilled, contemporary clarity rooted in the American industrial vernacular yet calibrated for the digital screen. By distributing not merely compiled font binaries but the raw design sources to the global commons, Jenkins and the museum affirmed an enduring typographic principle: that the tools of civic communication belong rightfully to the public that reads them.
Words
Questography
difficult waffles
Havana Plywood
Château d’Yquem
Högertrafikomläggningen
hamburgevontpids
Headlines
Thin · 200
Brawny gods just flocked up to quiz and vex him
Thin Italic · 200
Brawny gods just flocked up to quiz and vex him
Light · 300
Amazingly few discotheques provide jukeboxes
Light Italic · 300
Amazingly few discotheques provide jukeboxes
Book · 400
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
Book Italic · 400
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
Medium · 500
Grumpy wizards make a toxic brew for the jovial queen
Medium Italic · 500
Grumpy wizards make a toxic brew for the jovial queen
SemiBold · 600
Jackie will budget for the most expensive zoology equipment
SemiBold Italic · 600
Jackie will budget for the most expensive zoology equipment
Bold · 700
Monsieur Jack, vous dactylographiez bien mieux que votre ami Wolf
Bold Italic · 700
Monsieur Jack, vous dactylographiez bien mieux que votre ami Wolf
Heavy · 900
Jeg begynte å fortære en sandwich mens jeg kjørte taxi på vei til quiz
Heavy Italic · 900
Jeg begynte å fortære en sandwich mens jeg kjørte taxi på vei til quiz
Paragraphs
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
Standard Ligatures
font-feature-settings: 'liga';
Figures
1234567890
Tabular Lining (default)
1/2 3/4
Fractions: 'frac'
Ordinals
font-feature-settings: 'ordn';
Capital Spacing
font-feature-settings: 'cpsp';
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