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Art in space
Art in space
Art in space
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Ausdruckstanz
Ausdruckstanz
Ausdruckstanz
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Suite for Five
Suite for Five
Suite for Five
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Merce Cunningham: The classical ballet, by maintaining the image of the Renaissance perspective in stage thought, kept a linear form of space. The modern American Dance, stemming from German expressionism and the personal belongs of the various American pioneers, made space into a series of lumps, or often just static hills on the stage with actually no relation to the larger space of the stage area, but simple forms that by their connection in time made a shape.
Merce Cunningham: The classical ballet, by maintaining the image of the Renaissance perspective in stage thought, kept a linear form of space. The modern American Dance, stemming from German expressionism and the personal belongs of the various American pioneers, made space into a series of lumps, or often just static hills on the stage with actually no relation to the larger space of the stage area, but simple forms that by their connection in time made a shape.
Merce Cunningham: The classical ballet, by maintaining the image of the Renaissance perspective in stage thought, kept a linear form of space. The modern American Dance, stemming from German expressionism and the personal belongs of the various American pioneers, made space into a series of lumps, or often just static hills on the stage with actually no relation to the larger space of the stage area, but simple forms that by their connection in time made a shape.
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Some of the space-thought coming from the German dance opened the space out and left a momentary feeling of connection with it, but to others, the space was not visible enough because the physical action was all of a lightness, like sky without earth or heaven without hell.
Some of the space-thought coming from the German dance opened the space out and left a momentary feeling of connection with it, but to others, the space was not visible enough because the physical action was all of a lightness, like sky without earth or heaven without hell.
Some of the space-thought coming from the German dance opened the space out and left a momentary feeling of connection with it, but to others, the space was not visible enough because the physical action was all of a lightness, like sky without earth or heaven without hell.
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The fortunate thing in dancing is that space and time cannot be disconnected, and everyone can see and understand that. A body still is taking up just as much space and time as a body moving. The result is that neither the one nor the other — moving or being still — is more or less important, except it’s nice to see a dancer moving. But the moving becomes more clear if the space and time around the moving are one of its opposite — stillness.
Aside from the personal skill and clarity of the individual dancer, there are certain things that make clear to a spectator what the dancer is doing. In the ballet, the various steps that lead to the larger movements or poses have, by usage and by their momentum, become common ground upon which the spectator can lead his eyes and his feelings into the resulting action. This also helps define the rhythm, in fact, more often than not does define it.
In modern dance, the tendency or the wish has been to get rid of these “unnecessary and balletic” movements, at the same time wanting the same result in the size and vigor of the movement as the balletic action, and this has often left the dancer and the spectator slightly short.
The fortunate thing in dancing is that space and time cannot be disconnected, and everyone can see and understand that. A body still is taking up just as much space and time as a body moving. The result is that neither the one nor the other — moving or being still — is more or less important, except it’s nice to see a dancer moving. But the moving becomes more clear if the space and time around the moving are one of its opposite — stillness.
Aside from the personal skill and clarity of the individual dancer, there are certain things that make clear to a spectator what the dancer is doing. In the ballet, the various steps that lead to the larger movements or poses have, by usage and by their momentum, become common ground upon which the spectator can lead his eyes and his feelings into the resulting action. This also helps define the rhythm, in fact, more often than not does define it.
In modern dance, the tendency or the wish has been to get rid of these “unnecessary and balletic” movements, at the same time wanting the same result in the size and vigor of the movement as the balletic action, and this has often left the dancer and the spectator slightly short.
The fortunate thing in dancing is that space and time cannot be disconnected, and everyone can see and understand that. A body still is taking up just as much space and time as a body moving. The result is that neither the one nor the other — moving or being still — is more or less important, except it’s nice to see a dancer moving. But the moving becomes more clear if the space and time around the moving are one of its opposite — stillness.
Aside from the personal skill and clarity of the individual dancer, there are certain things that make clear to a spectator what the dancer is doing. In the ballet, the various steps that lead to the larger movements or poses have, by usage and by their momentum, become common ground upon which the spectator can lead his eyes and his feelings into the resulting action. This also helps define the rhythm, in fact, more often than not does define it.
In modern dance, the tendency or the wish has been to get rid of these “unnecessary and balletic” movements, at the same time wanting the same result in the size and vigor of the movement as the balletic action, and this has often left the dancer and the spectator slightly short.
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More freeing into space that the theme and manipulation ‘holdup’ would be a formal structure based on time. Now time can be an awful lot of bother with the ordinary pinch-penny counting that has to go on with it, but if one can think of the structure as a space of time in which anything can happen in any sequence of movement event, and any length of stillness can take place, then the counting is an aid towards freedom, rather than a discipline towards mechanization.
A use of toe-structure also frees the music into space, making in the connection between the dance and the music of individual autonomy connected at structural points. The result is the dance is free to act as it chooses, as is the music. The music doesn’t have to work itself to death to underline the dance, or the dance creates havoc in trying to be as flashy as the music. For me, it seems enough that dancing is a spiritual exercise in physical form, and what is seen, is what it is.
And I do not believe it is possible to be “too simple.” What the dancer does is the most realistic of all possible things, and to present that a man standing on a hill could be doing everything except just standing is simply divorce — divorce from life, Erin the sub cinubg yo and gig down, from could in front of the sun, from the rain that comes from the clouds and sends you into the drugstore for a cup of coffee, from each thing the succeeds each thing. Dancing is a visible action of life.
More freeing into space that the theme and manipulation ‘holdup’ would be a formal structure based on time. Now time can be an awful lot of bother with the ordinary pinch-penny counting that has to go on with it, but if one can think of the structure as a space of time in which anything can happen in any sequence of movement event, and any length of stillness can take place, then the counting is an aid towards freedom, rather than a discipline towards mechanization.
A use of toe-structure also frees the music into space, making in the connection between the dance and the music of individual autonomy connected at structural points. The result is the dance is free to act as it chooses, as is the music. The music doesn’t have to work itself to death to underline the dance, or the dance creates havoc in trying to be as flashy as the music. For me, it seems enough that dancing is a spiritual exercise in physical form, and what is seen, is what it is.
And I do not believe it is possible to be “too simple.” What the dancer does is the most realistic of all possible things, and to present that a man standing on a hill could be doing everything except just standing is simply divorce — divorce from life, Erin the sub cinubg yo and gig down, from could in front of the sun, from the rain that comes from the clouds and sends you into the drugstore for a cup of coffee, from each thing the succeeds each thing. Dancing is a visible action of life.
More freeing into space that the theme and manipulation ‘holdup’ would be a formal structure based on time. Now time can be an awful lot of bother with the ordinary pinch-penny counting that has to go on with it, but if one can think of the structure as a space of time in which anything can happen in any sequence of movement event, and any length of stillness can take place, then the counting is an aid towards freedom, rather than a discipline towards mechanization.
A use of toe-structure also frees the music into space, making in the connection between the dance and the music of individual autonomy connected at structural points. The result is the dance is free to act as it chooses, as is the music. The music doesn’t have to work itself to death to underline the dance, or the dance creates havoc in trying to be as flashy as the music. For me, it seems enough that dancing is a spiritual exercise in physical form, and what is seen, is what it is.
And I do not believe it is possible to be “too simple.” What the dancer does is the most realistic of all possible things, and to present that a man standing on a hill could be doing everything except just standing is simply divorce — divorce from life, Erin the sub cinubg yo and gig down, from could in front of the sun, from the rain that comes from the clouds and sends you into the drugstore for a cup of coffee, from each thing the succeeds each thing. Dancing is a visible action of life.

FF Milo® Slab styles

Thin
Extra Light
Light
Regular
Text
Medium
Bold
Extra Bold
Black
Thin Italic
Extra Light Italic
Light Italic
Regular Italic
Text Italic
Medium Italic
Bold Italic
Extra Bold Italic
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Thin
Thin Italic
Extra Light
Extra Light Italic
Light
Light Italic
Regular
Regular Italic
Text
Text Italic
Medium
Medium Italic
Bold
Bold Italic
Extra Bold
Extra Bold Italic
Black
Black Italic

Summary

FF Milo Slab is not just the sans with slabs attached. It has undergone a wide range of careful adjustments from increased contrast, longer ascenders and descenders and modified glyphs in the heavier weights. All these changes amount to a typeface that feels enough like Milo but also can stand on its own as a new and fresh typeface.

The slab also has a more horizontal feel since the terminals have been made more horizontal to accommodate the slabs. This adjustment alone makes an additional move away from its sibling FF Milo Sans. FF Milo Slab also takes a few cues from classic Egyptian style slabs rather than looking to the sans or serif for inspiration. You can see this in the italic v, w and y where slabs are used in place of the flared terminals in the sans and serif. The lowercase w and x also really needed to be very different to accommodate the slabs. The compact shapes of FF Milo Sans are still a distinct characteristic in FF Milo Slab as well. It’s what gives the Milo family a solid relationship.

The goal with the Milo family was always to make the sans, serif and slab close relatives but also distinct in their own right. Each family really has its own flavor and can be used together or separately with other typefaces. And like FF Milo Sans and FF Milo Serif the slab comes with most of the same features like nine weights, small caps, old style figures, lining figures and tabular figures as well as some alternative glyphs to mix it up. FF Milo Slab was developed between 2012–2014.

In practice


FF Milo® Superfamily specimen poster design by Alexander Roth for the FontShop Berlin.

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