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Pangram
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Available Formats

Desktop Licenses

B
N

Extended Licenses

G
A
M
L

Scripts supported

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.

SUPPORT 207 LANGUAGES  SHOW ALL HIDE ALL English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Turkish, Italian, Polish, Afaan Oromo, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Latvian, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Slovio (Latin), Volapük

Weights

  • C
    Thin
  • C
    Light
  • C
    Regular
  • C
    Medium
  • C
    Bold
  • C
    Extrabold
  • C
    Heavy

Features

  • (HO!)
    Case-Sensitive Forms
  • “ij!?.„
    Stylistic Set 1
  • oggi
    Stylistic Set 2
  • alta
    Stylistic Set 3
  • J&Q
    Stylistic Set 4
  • PRt
    Stylistic Set 9
  • 12/23
    Fractions
  • 1o 2a No.
    Ordinals
  • 12360
    Proportional Figures
  • 12360
    Oldstyle Figures
  • 1234
    Tabular Figures
  • H123
    Alternate Annotation Forms
  • H123
    Denominators
  • H123
    Subscript
  • H123
    Superscript
  • H123
    Numerators
  • 120
    Slashed Zero

Variable Typefaces

Milligram Variable

VARIABLE FONTS ARE ONLY AVAILABLE WITH THE FULL FAMILY PACKAGE, MAY NOT WORK WITH ALL THE SOFTWARE

Milligram Macro Bold
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Delving in details.

Milligram Medium
CLICK ON TEXT TO EDIT

"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.

Milligram Text Regular
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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.

Styles

  • a
    roman
  • a
    Italic
  • a
    Text
  • a
    Text Italic
  • a
    Macro
  • a
    Macro Italic

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