UTILY SANS

Utily S Sans

the designers.

LatinoType Foundry’s goal is to “design new typefaces remixing diverse influences related to our South American identity with high quality products for the contemporary design industry.”

The foundry, which was started in 2007, is based in Concepción and Santiago. It was initiated by Daniel Hernández and Luciano Vergara to bring typography to Latin America in a way that previously had only existed in the United States and in Europe.

Through a wide range of genres and styles, LatinoType has become one of the most successful type foundries on MyFonts. As designers they feel a strong tie to their cultural identity and are eager to bring more of the world of type to Latin American countries.

Alfonso Garcia

Utily Sans was created by two designers from LatinoType, Alfonso García and Rodrigo Fuenzalida.

Along with being a type designer for LatinoType, García is a freelance graphic designer and a professor at the National University of San Juan in Argentina.

As for Fuenzalidad, he is mainly fascinated by calligraphy and incorporates a calligraphic style into many of his typefaces. He, like García is also a freelance graphic designer on top of being a type designer for LatinoType.

Rodrigo Fuenzalidad

boasts simple geometric forms with humanist shapes and holds up in long bodies of text. The typeface, as described by the type foundry it was born from, “looks like Futura, but has a feel closer to Garamond.” Utily Sans is comprised of six different weights, and each weight is accompanied by an italic version. The typeface also contains an alternate character set, small caps, lining figures, old style numbers, and options for uppercase ligatures for display text. Along with supporting over 200 Latin-based languages, Utily Sans is also the first typeface from LatinoType that supports Cyrillic characters, making it both inclusive and versatile. Utily Sans was designed to be used for a variety of text styles, from display to body text, and it is extremely adaptable to due its wide range of weights. Utily Sans

features geometric shapes with a humanist feel. There are a few specific characters that stand out in this typeface and lend to its unique style, specifically the lowercase g, t, and r. These are just some of the characters that have stylistic alternates within the typeface. Others include the uppercase A, G, M, N, Q, V, W, and Z, as well as the lowercase a, g, I, j, r, t, u, v, and w. They even supply stylistic alternates for special characters like the ampersand and ‘at’ symbol. For the lowercase r, there is a stylistic alternate for the standard r which is just a single stroke for the stem and a dot just to the right of it, where the arm of the r would typically be. It is a very simple design but creates a very unique and fun feel that typically Utily Sans

isn’t seen in a geometric typeface.The lowercase t also has a unique feature in that it has a relationship between the stem and arm on the left side that is similar to that of Gill Sans, where the space is filled in to create a triangle, adding to the geometric feel. Overall, the typeface has a large x-height which makes for good legibility even at a small point size. There is also a large ascender height and the counters in all the different weights also maintain a circular shape, which is typical for most geometric typefaces. Utility Sans also is made up of monolinear strokes, making the weight of characters of the typeface consistent throughout. Overall, Utily Sans is the perfect combination of a geometric and a humanist style typeface.

One unique aspect of the lowercase ‘g’ is that it has a very stylized link while still maintaining an open bowl. It features both a hard edge that fits with its geometric roots, but the open bowl and ear give it a friendlier feel.

BASIC SANS

My Fonts. “Creative Characters Interview with Daniel Hernández, January 2012.” Edited by Jan Middendorp, Creative Characters Issue #54, MyFonts, Jan. 2012, www.myfonts.com/newsletters/cc/201201.html. P., Greta. “What Are Grotesque Fonts? History, Inspiration and Examples.” Creative Market, 21 Aug. 2017, creativemarket.com/blog/grotesque-fonts. Shoaf, Jeremiah. “Basic Sans Font Combinations & Free Alternatives” Typewolf, 2018, vwww.typewolf.com/site-of-the-day/fonts/basic-sans.

GT AMERICA

“GT America,” Grilli Type, 2016, www.grillitype.com/typeface/gt-america. GT America. “GT America Typeface,” 2016, www.gt-america.com/. Hutton, Julian. “Interview: Seb McLauchlan’s International Type Education.” Desktop: The Culture of Design, 22 July 2014, desktopmag.com.au/features/ switzerland-shanghai-wellington-seb-mclauchlans-journey-type/. info@fiascodesign.co.uk, Fiasco Design -. “Swiss Graphic Designer and Grilli Type Cofounder Noël Leu • Inkygoodness.” Inkygoodness, inkygoodness.com/features/grilli-type-cofounder-noel-leu/. Riechers, Angela. “American Gothic Meets Swiss Grotesk, New GT America Typeface Is the Best of Both Design Worlds.” Eye on Design, AIGA, 27 May 2017, eyeondesign.aiga.org/american-gothic-meets-swiss-grotesk-new-gt-america-typeface-is-the-best-of-both-design-worlds/. Shoaf, Jeremiah. “GT America Font Combinations & Free Alternatives.” Typewolf, www.typewolf. com/site-of-the-day/fonts/gt-america.

ROBOTO SLAB

Coles, Stephen. “Roboto Was a Four-Headed Frankenfont.” Typographica, 19 Oct. 2011, typographica. org/on-typography/roboto-typeface-is-a-four-headed-frankenstein/. Dunham, Ethan. “Roboto Font Free by Christian Robertson: Font Squirrel.” Latest Font, 24 Oct. 2011, www.fontsquirrel.com/fonts/roboto. Isaac, Mike. “Google Unwraps Ice Cream Sandwich, the Next-Generation Android OS.” Wired, Conde Nast, 3 June 2017, www.wired.com/2011/10/android-ice-cream-sandwich-3/. Robertson, Christian. “Christian Robertson. Interface, Type Designer.” Christian Robertson. Interface, Type Designer, www.christianrobertson.com. Robertson, Christian. “Making Material Design: Refining Roboto.” YouTube, Google Design, 28 May 2015, www.youtube.com/watch?v=6WxACOHm0_g. Shoaf, Jeremiah. “Roboto Slab Font Combinations & Similar Fonts.” Typewolf, www.typewolf.com/ site-of-the-day/fonts/roboto-slab.

GOTHAM

Challand, Skylar. “Idsgn (a Design Blog).” Back to Idsgn (a Design Blog), 22 July 2009, idsgn.org/posts/ know-your-type-gotham/. Hawley, Rachel. “How This One Font Took over the World.” The Outline, 26 Apr. 2019, theoutline. com/post/7356/gotham-font-is-everywhere?zd=1&zi=ocvz4cci. “Jones Type.” Frere, 2015, frerejones.com/about. Končal, Petr. “Tobias Frere-Jones.” Design History Research, 7 Dec. 2010, designhistoryresearch. wordpress.com/category/tobias-frere-jones/. Murray, Morgan L. “Gotham.” The History, Style and Use of Type, 23 June 2014, morganlmurrayims224researchtopic.wordpress.com/2014/06/23/gotham/.

JOST*

Earl, Owen. “Jost*.” indestructible type*. indestructible type*, n.d. Web. https://indestructibletype.com/ Jost.html. Accessed 18 February 2020. Miller, Meg. “Happy 90th Birthday to Futura, the Modernist Typeface That is Literally Everywhere.” AIGA Eye on Design. AIGA, 03 October 2017. https://eyeondesign.aiga.org/happy-90th-birthday-to-futura-the-modernist-typeface-that-is-literally-everywhere/. Accessed 03 March 2020. Sava, Alina. “Jost* by Owen Earl.” Fonts Arena. Digital Ocean, Key CDN, Simple Analytics, n.d. Web. https://fontsarena.com/jost-by-owen-earl/. Accessed 03 March 2020.

UTILY SANS

“Utily Sans.” Latinotype New Home, LatinoType, 2019, latinotype.com/display-weights?font=222. “Utily Sans: A Humanist Geometric Sans Serif From LatinoType.” Blog.youworkforthem. com, You Work For Them, 20 Sept. 2019, blog.youworkforthem.com/2019/09/20/ utily-sans-a-humanist-geometric-sans-serif-from-latinotype/.

BEATRICE DISPLAY

Sharp Type. “About Us.” Sharp Type, sharptype.co/typefaces/beatrice-display/. Sharp Type. “Beatrice Display.” Sharp Type, sharptype.co/typefaces/beatrice-display/.

BELY

“Bely.” TypeTogether | High Quality Fonts and Custom Type Design, 2020, www.type-together.com/ bely-font. “Roxane Gataud.” TypeTogether | High Quality Fonts and Custom Type Design, 2020, www.type-together.com/roxane-gataud.

DESIGNED BY EMMET CECCANTI This book utilizes spreads designed by those listed in the table of contents, 2020.

This book is set in both Noto Serif and Barlow Regular