Utile Display
COMING IN CLEAN AND THE MASS BECOMES SO LIGHT A GRAY THAT MAKING WHITE PAPER OF IT DOES NOT SEEM QUITE HOPELESS.
Utile Display
Besides writing and wrapping papers and the various kinds of board, there are many sorts which are used for special purposes. India paper is light, smooth, and strong, very opaque that printing will not show through.
Utile Display
The finest paper is made from linen and cotton rags. When the rags reach the factory, they are carefully sorted.
Utile Display
Lime and soda are put with them to cleanse them and remove the coloring material; but when they are poured out, they look anything but clean, for they are of a dirty brown.
Utile Display
Now the preparation is completed, and the pulp is pumped to large and complicated machines which undertake to make it into paper.
Utile Display
In its manufacture the fiber of the wood is so ground up that it has little strength. It is used for cardboard and packaging.

Utile Display

Utile Display Light

Utile Display Light Italic

Utile Display Book

Utile Display Book Italic

Utile Display Regular

Utile Display Regular Italic

Utile Display Medium

Utile Display Medium Italic

Utile Display Semibold

Utile Display Semibold Italic

Utile Display Bold

Utile Display Bold Italic

Utile Display Black

Utile Display Black Italic

Language Support & Font Formats

Format Options
OTF, WOFF, WOFF2, TTF. Variable fonts upon request

Designer
Sibylle Hagmann

Initial Release
2019

Language Coverage
Extended Latin

Styles
14

Version Number
v1.302

Extended Latin character set covering the following languages:

Latin 1 – 6 (ISO 8859 – 1, 2, 3, 4, 9, 10): Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Cornish, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Finnish, French, Frisian, Friulian, Gaelic (Manx), Gaelic (Scottish), Galician, German, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Irish Gaelic, Italian, Karelian, Kurdish, Latin, Leonese, Latvian, Lithuanian, Luxembourgish, Maltese, Moldavian (Latin), Norwegian, Polish, Portuguese, Rhaeto-Romanic, Romanian, Sami, Serbian (Latin), Slovak, Slovenian, Sorbian, Spanish, Swahili, Swedish, Turkish, Welsh, Walloon

All Roman and Italic weights include the same set of glyphs.

Desktop Fonts
Desktop fonts are in OpenType (.otf) format.

Webfonts
Webfonts are provided for self-hosting in .woff, .woff2, and .eot formats. All styles currently offered have been screen hinted to work in sizes 16 pixels and larger.

Mobile App Fonts
Mobile app fonts are in TrueType (.ttf) format, provided upon request.

Utile Display

Utile and Utile Display are elegantly flared sans in two finishes suited for continuous smaller-sized text and corresponding display typography, with an overarching aim for superb legibility and optical balance. Designed with clarity and function in mind, Utile (text) features a solid letter build with carefully weighed spacing for ongoing passages of text, and form definitions compensating for trapped ink and low pixel density. Utile Display, a modulated sans, pays tribute to the contrast of thick and thin, feeling right at home in title compositions with tighter letter spacing and re-proportioned designs. The contrasted sans promotes a timeless elegance and lively aesthetic that comes especially to light in larger sizes. The slightly curved stem modulation of the Utile Collection, uniquely asymmetrical in its application, attempts to maintain a balancing act between swelled strokes and the absence of such, a feature in tune with open counters and vertical stroke ends, yielding a dynamic quality. Open Type features include figures for text and tables, stylistic alternates, fractions, and more. The ample weight scale and multipurpose variety of text and display is intended, but not limited, for contemporary identity-branding, editorial and advertising for print and screen programs.

Utile started out as an extensive study of numerous sans-serif typefaces that have their roots in the type classification of static Grotesks and Neo Grotesks. In parallel to this exploration and during the design process, divergent consideration came into play, such as maximum flat-open apertures in upper cases (C, G, S) and lower cases (c, s), a concept that was later abandoned to return to more measured apertures with moderately open humanist lower case forms to enhance the reading experience for smaller set text.

Although the concept of flat-open apertures was set aside, it provoked an exploration of stroke contrast and an addition of glyphic details that led to lightly swelled terminals for both text and display styles. The asymmetrical incised stem definitions, applied with measure, help to render the type rhythmically animated with a touch of classical letter heritage. To keep reverberations of the pen at its lowest, the majority of upper cases are then also mostly spared of glyphic details generally maintaining a sans identity. The Utile collection is reminiscent of typefaces designed during the mid 20th century enunciating a certain elegance and fluidity.