![](/img_posted/Milligram_IMG - SB 1.0_Zetafonts P09.png)
Every type design story
is a ghost story.
We believe in the Swiss spirit.
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
Milligram Text
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 those grotesque 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.
This is how Milligram was born: designed by Cosimo Lorenzo Pancini with Andrea Tartarelli, this typeface is an homage to the Akzidenz Grotesk that never was. Milligram revolves around an idiosincratic relationship with negative space, inspired by the tight metrics modernist designers imposed on their layouts. Delegating a relaxed rythm to the Milligram Text subfamily, the display-oriented Milligram family plays with a feeling of attraction behind shapes - something brought to the extremes in the "tight & touching" Milligram Macro variant.
Writing system:
Language Supported:
Features
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(HO!)Case-Sensitive Forms
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RAGSmall Capitals From Capitals
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RagSmall Capitals
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RagStylistic Set 1
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RagStylistic Set 2
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KikiStylistic Set 3
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J&QStylistic Set 4
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RatStylistic Set 9
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12/23Fractions
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1o 2a No.Ordinals
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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 (and might not be supported by all 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.