MILO TYPOGRAFIK

The MiloType library is an exceptional collection of exclusive type families of different styles: text, handwriting and display. All fonts have at least an extended latin character set. Certain type families include typographic features, i.e. small caps, stylistic sets (alternative letterforms), fractions, etc. The fonts are of high design and technical quality, thus suited to be used esspecially by professional typographers, designers and publishers.

Agram, 2000

	The typeface's design is based upon geometric forms. It is extremely heavy, but still with some stroke contrast. There are no 'real' uppercase letters. Basically they are identical to the lowercase ones, with exeptions to the letters b, d, g, n, p, q and u. The glyphs of their uppercase counterparts represent alternative letterforms. Numerals are designed in mediaeval style. BTW, the name originates from the 'germanized' version of Zagreb - the capital of Croatia.
Aramaica, 1997

	The idea of this typeface is to mimic a fusion of the latin based lowercase letterforms and the cuneiform style writing. There are no 'real' uppercase letters. Instead, the lowercase letters were copied into a square and punched out, making the uppercase letters negative. Suggestion for usage: For text set in bigger sizes, set only the first letters of sentences within a paragraph in uppercase letters.
Avant High Book, 1997

	A new design of a classic typeface. Ascenders and descenders have been prolonged. Uppercase letters have been redesigned. Numerals have been slightly modified in order to give them a mediaeval style look. Suggestion for usage: Give your titles or logos a unique appearance.
Bonbon, 1998

	The rounded variant of the typeface 'Agram'. The typeface has no 'real' uppercase letters. The glyphs of the uppercase counterparts of the letters f, g, q differ in their design and can be used as alternative letterforms. The design of the ampersand differs from the one used in 'Agram'. Numerals are designed in mediaeval style.
Corinna Hand, 1999

	A handwriting typeface. Instead of using composites for accented characters, most have been modified, to give the typeface a more 'natural' look.
Delirious, 1998

	A strangly shaped and very tightly spaced typeface.
Factory , 1997

	2 weights: regular, broken The original form of this type family is a square with the upper left corner cut away. Both typefaces have identical widths and can be placed on top of each other to produce color effects within text. Check out the animated example.
Girls And Boys, 1997

	The typeface consists of only uppercase letters. All lowercase characters represent alternative letterforms of their capital counterparts. Like in the handwriting typefaces, the accented characters are not simple composites, but have been designed separately.
Linotype Gotharda, 1997

	The typefce's design represents a comination of a sans-serif typeface with the Gothic style look. The heavy strokes, narrow character widths, exaggerated overshots and a high x-height are characteristics taken from the Gothic style. On the other hand, the forms of the lowercase letters a, s, x, z and the clear capitals are the characteristics taken from the sans serif style. The height of the lining figures is between the cap and the x-height. Linotype Gotharda is part of the TAKETYPE 2 CD, with typefaces of the 2nd International Digital Type Design Contests, which was sponsored by Linotype.
Kaptol, 1997

	This decorative typeface is designed in outline style and consists of only uppercase letters. The lowercase letters a, g, m, n, q, v, w, y represent alternative letterforms of their uppercase counterparts - or vice versa. ;-)
Klavir , 1997

	2 weights: regular, small caps A type family with strong stroke contrast. The uppercase letters of both, the regular and the small cap faces are identical. The small cap characters, numerals and currency signs of 'Klavir Small Cap' face have the same x-height as the lowercase characters of the regular face. This type family is the predecessor of the typeface 'Pianissimo MILO'.
Pianissimo, 1998

	The typeface's design originates from the 'Klavir' typeface. If you will, it's a piano-keyboard-look-alike typeface in perfection. Suggestion for usage: Use it at BIG sizes, like posters. Character set: custom
Poster , 1997

	2 weights: inline, outline A box shaped type family without any rounded elements. The origin of these two typefaces is my logo. 'Poster Inline' represents the "filled" typeface and 'Poster Outline' the "outlined" one. Both have identical widths and can be placed one on top of each other for color effects. Check out the animated example.
Samantha, 1997

	A typeface of Modern style but without the serifs. Extremely thin hairlines, thick strokes and mathematically vertical weight stress. There are no acctual uppercase letters. Instead, the lowercase letters where used within a rounded frame element and punched out.
Screen 14 , 1998

	2 weights: regular, bold The type family was designed as part of my dissertation. The intention was to design a typeface specifically for screen usage, as most typefaces used nowadays have never been adapted for this media - especially regarding the white space, or better the sidebearings. Also, it was ment as an experiment - combining the outline font technology with the bitmap representation form. Because of the fact, that the design of the letterforms follows strickly the structure of a bitmap matrix, there are some specifics to this typeface: Some accents do not sit 'typographically correct' on top of the letters. In order to keep insections in the bold face letters open, one 'pixel' was left out. Letters s, S and the dollar sign as well as letters y and Y do not share an identical form. The width of the regular and bold weights differ only in certain characters. I have prolonged the letter's right sidebearing of the regular weight. For the bold weight, I emboldened the letters of the regular weight, but simuntaneously keeping the width identical as long as the form allows it. The typeface contains mediaeval styled numerals for better legibility.
Stari Grad, 1998

	2 weights: regular, alternate This typeface represents a synthesis of the latin, the glagolitic and the cyrillic scripts. It is designed as a 'small caps' typeface. 'Stari Grad Alternate' contains alternative glyphs of letters F, J, P and X. The typeface is ideal for monumental headlines, diplomas and the like.
Stephen Hand, 1999

	A handwriting typeface. Instead of using composites for accented characters, most have been modified, to give the typeface a more 'natural' look.

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