Milligram Thin
Milligram Thin Italic
Milligram Light
Milligram Light Italic
Milligram Regular
Milligram Italic
Milligram Medium
Milligram Medium Italic
Milligram Bold
Milligram Bold Italic
Milligram Extrabold
Milligram Extrabold Italic
Milligram Heavy
Milligram Heavy Italic
Milligram Text Book
Milligram Text Book Italic
Milligram Text Regular
Milligram Text Italic
Milligram Text Medium
Milligram Text Medium Italic
Milligram Text Bold
Milligram Text Bold Italic
Milligram Macro Thin
Milligram Macro Thin Italic
Milligram Macro Light
Milligram Macro Light Italic
Milligram Macro Regular
Milligram Macro Italic
Milligram Macro Medium
Milligram Macro Medium Italic
Milligram Macro Bold
Milligram Macro Bold Italic
Milligram Macro Extrabold
Milligram Macro Extrabold Italic
Milligram Macro Heavy
Milligram Macro Heavy Italic
Grotesque sans typefaces: you know you won’t ever get tired of those. And any moment you decide that Vignelli was right and one swiss font is enough, here comes a new specimen from the past inviting you to try new takes on the modernist letterforms. It's a tight and crowded design space, so design decisions are subtle and almost unnoticeable. Whoever you decide to be in the details - either God or the Devil - you surely need a taste for the infinitesimal to work with these shapes. Time design borders sandstoning shapes, in a delicate equilibrium between modernist precise ideals and the fascinating energy of old lead grotesques. The resulting typeface developes around an idiosincratic relationship with negative space, inspired by the tight metrics modernist designers imposed on their layouts. Leaving a text optimized spacing to the text subfamily, Milligram plays with a feeling of attraction behind shapes, something brought to the extremes in the logo-oriented Milligram Tight Variant. Designed by Cosimo Lorenzo Pancini with Andrea Tartarelli, Milligram is a fine but bold homage to the Akzidenz Grotesk that never was.
Features
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(HO!)Case-Sensitive Forms
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“ij!?.„Stylistic Set 1
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oggiStylistic Set 2
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altaStylistic Set 3
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J&QStylistic Set 4
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PRtStylistic Set 9
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12/23Fractions
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1o 2a No.Ordinals
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12360Proportional Figures
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12360Oldstyle Figures
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1234Tabular Figures
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H123Alternate Annotation Forms
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H123Denominators
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H123Subscript
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H123Superscript
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H123Numerators
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120Slashed Zero
Variable Typefaces
Milligram Variable
VARIABLE FONTS ARE ONLY AVAILABLE WITH THE FULL FAMILY PACKAGE, MAY NOT WORK WITH ALL THE SOFTWARE
Delving in details.
"The devil is in the details" is an idiom alluding to a catch or mysterious element hidden in the details: something might seem simple at a first look but will take more time and effort to complete than expected. It comes from the earlier phrase "God is in the details", expressing the idea that whatever one does should be done thoroughly; that is, details are important.
The idiom "God is in the details" has been attributed to a number of people, most notably to the German-born architect Ludwig Mies van der Rohe (1886–1969) by The New York Times in Mies's 1969 obituary; however, it is generally accepted not to have originated with him. The expression also appears to have been a favorite of German art historian Aby Warburg (1866–1929), though Warburg's biographer, E. H. Gombrich, is likewise uncertain if it originated with Warburg. An earlier form, "Le bon Dieu est dans le détail" (literally "the good God is in the detail") is generally attributed to Gustave Flaubert (1821–1880). The expression "the devil is in the details" is found in a 1963 history of post-war European integration. It is later attested in 1965. In 1969, it is referred to as an existing proverb. Bartlett's Familiar Quotations lists the saying's author as anonymous. An editorial in the 1989 New York Times reflects on the apparent interchangeability of God and the Devil in the phrase, citing various examples in print at the time; as well as the difficulty of determining which came first and how long either one has been in use. In German print, the equivalent expression of "God is in the details", "Gott steckt im Detail", appears in 1934. The equivalent expression of "The devil is in the details", "Der Teufel steckt im Detail", appears in 1951, and overtakes "Gott" in 1965.