Ben Millett

@benmillett

I must not fear. Fear is the mind-killer. 🌈 🌈 🌈 📨 hello@benmillett.net

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Ben Millett@benmillett· 2d

I know I should be comparing only to Neue, because that’s what my site has currently, but look at Now Display’s numbers! Its default spacing is just so much better. But I’m not paying their yearly licensing just for that.

A screenshot of uppercase, lowers, numbers of four typefaces, three essentially Helvetica plus a fourth sans serif.

Ben Millett@benmillett· 8d

"Let's train you on genAI! Don't know what it is? Just use this AI app to ask about this training. (But also - we don't take any responsibility for this app.)" - Microsoft.

A screenshot from Microsoft about the AI Training lesson, with the key phrases:
Ask Anton is an example AI application that you can use to ask questions about the topics covered in this training.
Ask Anton is not a supported Microsoft product or a component of Microsoft Learn or AI Skills Navigator. Just an example of an AI agent for you to explore as you learn about what's possible with AI.

Ben Millett@benmillett· 10d

I don’t really want the LEGO X-Files set. But getting that is the only way to get the Scully’s Lab set, which I DO want. Why, LEGO?

LEGO’s product image of the free-with-purchase Scully’s Lab set

Ben Millett@benmillett· 11d

More books should have a page like this.

Colophon page of Eric Carter’s Design Harder. (There’s also an orange cat rubbing its head against the book cover.) It reads:

Published by Book Ideas
Brooklyn, New York

Typefaces
Common Serif by Wei Huang
ABC Diatype by Dinamo

Printed by
KOPA

Paper
Munken Print White 18
Cover Skivertex Vicuna

bookideas.website designharder.pub

Ben Millett@benmillett· 12d

I’m going to need the contact info of the person that decided that every single top for men had to be textured, especially the year I need new clothes. This photo is Abercrombie, but every store was full of this shit. (And don’t get me started on boxy coming back.)

Menswear shirts that all have some sort of texture.

Ben Millett@benmillett· 12d

After using the keycap samples that arrived, I'm pretty sure these are the Yuzu keycaps I'll be ordering. I've cut out all the extra cmd, etc., variants that I don't want to use, but left the fn variants and a number of blanks just in case.

A mockup of keyboard keycaps, in whites, greens, and red.

Ben Millett@benmillett· 13d

I got my Yuzu Keycaps sample set and am both glad I got as many variants as I did and upset I didn’t do more. Compared to the Nuphy Coast Keycaps, the Yuzu top is shorter, but stem is slightly taller, putting the keycaps at the same height. The Yuzu also has a bit more surface texture.

30 square Keycaps in a variety of colors (rainbow, multiple greens, greys)

I’m holding two keycaps top-to-top, yuzu on the left in green and Nuphy on the right in yellow

Two keycaps are on a desk surface, yuzu on the left in green and Nuphy on the right in yellow

Ben Millett@benmillett· 23d

Dr Drang reminded me of charting sunrise/set times with/out daylight savings, and I decided to reformat using Excel, for Des Moines. Under the permanent DST, the sun would rise after 8am between mid November and late February, instead of never. No, thank you. leancrew.com/all-this/202...

A line chart showing sunrise and sunset for Des Moines, IA. Both standard and savings times are shown.

Ben Millett@benmillett· 24d

Finally my ultimate favorite, permanently on display, made specifically for this space. I could have sat and stared for a long while if I wasn’t with others. Ellsworth Kelly (American, 1923-2015) Blue Black, 2001 Painted aluminum 336 x 70 x 2 1/2 inches (Label description in alt)

View from the top of the stairs leading down to the base of the sculpture. At this view, we’re about at the midpoint of the sculpture.

Ellsworth Kelly (American, 1923-2015)
Blue Black, 2001
Painted aluminum
336 x 70 x 2 1/2 inches

Blue Black is on the 35’ wall of this gallery, past the staircase.
"When you are coming into the entrance, you only see about a little more than half of the picture," Ellsworth Kelly said of Blue Black. "As you move toward it, it then reveals itself." The artist created this work for the wall at the end of the Pulitzer's main gallery while the museum was being constructed. He carefully selected the work's colors, scale, and placement in relation to the gallery space's consies ore and linte. he sculpture panels installed beneath a narrow skylight. It is not flush with the wall but projects four inches from it, seeming to float weightlessly in space.

A man just over 5.5ft stands in front of Blue Black

Ellsworth Kelly (American, 1923-2015)
Blue Black, 2001
Painted aluminum
336 x 70 x 2 1/2 inches

Blue Black is on the 35’ wall of this gallery, past the staircase.
"When you are coming into the entrance, you only see about a little more than half of the picture," Ellsworth Kelly said of Blue Black. "As you move toward it, it then reveals itself." The artist created this work for the wall at the end of the Pulitzer's main gallery while the museum was being constructed. He carefully selected the work's colors, scale, and placement in relation to the gallery space's consies ore and linte. he sculpture panels installed beneath a narrow skylight. It is not flush with the wall but projects four inches from it, seeming to float weightlessly in space.

View from the side of Blue Black at the midpoint, revealing supports against the wall

Ellsworth Kelly (American, 1923-2015)
Blue Black, 2001
Painted aluminum
336 x 70 x 2 1/2 inches

Blue Black is on the 35’ wall of this gallery, past the staircase.
"When you are coming into the entrance, you only see about a little more than half of the picture," Ellsworth Kelly said of Blue Black. "As you move toward it, it then reveals itself." The artist created this work for the wall at the end of the Pulitzer's main gallery while the museum was being constructed. He carefully selected the work's colors, scale, and placement in relation to the gallery space's consies ore and linte. he sculpture panels installed beneath a narrow skylight. It is not flush with the wall but projects four inches from it, seeming to float weightlessly in space.

View from a passage at the midpoint of the sculpture.

Ellsworth Kelly (American, 1923-2015)
Blue Black, 2001
Painted aluminum
336 x 70 x 2 1/2 inches

Blue Black is on the 35’ wall of this gallery, past the staircase.
"When you are coming into the entrance, you only see about a little more than half of the picture," Ellsworth Kelly said of Blue Black. "As you move toward it, it then reveals itself." The artist created this work for the wall at the end of the Pulitzer's main gallery while the museum was being constructed. He carefully selected the work's colors, scale, and placement in relation to the gallery space's consies ore and linte. he sculpture panels installed beneath a narrow skylight. It is not flush with the wall but projects four inches from it, seeming to float weightlessly in space.

Ben Millett@benmillett· 24d

Joel Shapiro (American, 1941-2025) Untitled, 1976-1977 Charcoal on paper

Ben Millett@benmillett· 24d

Ellsworth Kelly (American, 1923-2015) Leaves, Île St. Louis, 1950 Ink on paper (I hadn’t realized these were as large as they were, close to 16x20)

Black marks on yellowed paper, marking simplified leaves

Full view:

Ellsworth Kelly (American, 1923-2015)
Leaves, Île St. Louis, 1950
Ink on paper

Black marks on yellowed paper, marking simplified leaves, showing more detail on a pistol/stamen

Detail view:

Ellsworth Kelly (American, 1923-2015)
Leaves, Île St. Louis, 1950
Ink on paper

Ben Millett@benmillett· 24d

Ellsworth Kelly (American, 1923-2015) Briar, 1960 Graphite on paper (Label description in alt. I hadn’t realized these were as large as they were, close to 16x20)

While living in France after World War
II (1939-1945), Ellsworth Kelly often drew plants, flowers, and algae. In Seaweed (#81), Kelly captured his subject intricately across several sheets of paper, registering every fold and tear along its ruffled edge. He worked from a piece of seaweed he had gathered on the coast of Brittany, France, and hung up in his nearby studio. Leaves, Île St Louis (#80), made the following year in Paris, highlights the delicacy of a tiny flower in contrast to large leaves.
In later drawings like Briar (#82), Kelly emphasized the outlines of shapes, minimizing texture and detail.

Detail view

While living in France after World War
II (1939-1945), Ellsworth Kelly often drew plants, flowers, and algae. In Seaweed (#81), Kelly captured his subject intricately across several sheets of paper, registering every fold and tear along its ruffled edge. He worked from a piece of seaweed he had gathered on the coast of Brittany, France, and hung up in his nearby studio. Leaves, Île St Louis (#80), made the following year in Paris, highlights the delicacy of a tiny flower in contrast to large leaves.
In later drawings like Briar (#82), Kelly emphasized the outlines of shapes, minimizing texture and detail.

Ben Millett@benmillett· 24d

Dan Flavin (American, 1933-1996) Untitled, 1969 One two-foot daylight and one four-foot cool white fluorescent light with fixtures (Label description in alt)

Full view of
Dan Flavin (American, 1933-1996)
Untitled, 1969

One two-foot daylight and one four-foot cool white fluorescent light with fixtures
This work forms a horizontal line across the corner of the gallery, calling attention to and literally illuminating a rarely noticed part of the room. Untitled casts light, shadow, and color across nearby surfaces, drawing much of the gallery into its glow. Minimalist artist Dan Flavin created sculpture from commercially available fluorescent lamps in different colors. Untitled pairs two lamps in a fixture, one set behind the other. One lamp is a warm daylight color and the other a cooler white hue. The straight, tubular form of the fluorescent lamps gives the sculpture a linear quality.

Detail view showing the two bulbs

Dan Flavin (American, 1933-1996)
Untitled, 1969

One two-foot daylight and one four-foot cool white fluorescent light with fixtures
This work forms a horizontal line across the corner of the gallery, calling attention to and literally illuminating a rarely noticed part of the room. Untitled casts light, shadow, and color across nearby surfaces, drawing much of the gallery into its glow. Minimalist artist Dan Flavin created sculpture from commercially available fluorescent lamps in different colors. Untitled pairs two lamps in a fixture, one set behind the other. One lamp is a warm daylight color and the other a cooler white hue. The straight, tubular form of the fluorescent lamps gives the sculpture a linear quality.

Ben Millett@benmillett· 24d

Medard Rosso Two Figures on a Street in London, ca. 1896 Pencil on card (Label description in alt)

Full view of:
Two Figures on a Street in London, ca. 1896
Pencil on card
Made in pencil, ink, or crayon on small pieces of paper or board, Medardo Rosso's drawings capture momentary impressions of cityscapes and people in their homes or public places.
These drawings record scenes from a trip to London. In #40, energetic up-and-down pencil strokes form the elongated bodies of people in hats striding down the street. The figures are almost lost in a frenzy of marks that recall the city's bustle and commotion.
#38 depicts a busy roadway alongside a dock, with a ship partially visible at right. Rosso blocked out the top left corner with dark, diagonal lines that converge with the road, accentuating the forward trajectory of a vehicle and pedestrian.

Closer view of

Two Figures on a Street in London, ca. 1896
Pencil on card
Made in pencil, ink, or crayon on small pieces of paper or board, Medardo Rosso's drawings capture momentary impressions of cityscapes and people in their homes or public places.
These drawings record scenes from a trip to London. In #40, energetic up-and-down pencil strokes form the elongated bodies of people in hats striding down the street. The figures are almost lost in a frenzy of marks that recall the city's bustle and commotion.
#38 depicts a busy roadway alongside a dock, with a ship partially visible at right. Rosso blocked out the top left corner with dark, diagonal lines that converge with the road, accentuating the forward trajectory of a vehicle and pedestrian.

Ben Millett@benmillett· 24d

Doris Salcedo (Colombian, b. 1958) Disremembered V, 2015 Raw silk and nickel-plated steel (Label description in alt)

A textile hangs loosely in the wall

Doris Salcedo (Colombian, b. 1958)
Disremembered V, 2015
Raw silk and nickel-plated steel

In Disremembered V, Doris Salcedo focused on US gun violence. Made of raw silk interwoven with 12,000 sewing needles, Disremembered V shimmers alluringly, but also implies pain and danger. Salcedo created the work in response to conversations she had with mothers of children killed by gun violence in Chicago.
Both delicate and sharp, Disremembered V evokes the fragility of life and the insurmountable grief that remains after the death of a loved one. The garment also recalls a long history of weaving burial shrouds as an act of mourning.

A textile hangs loosely in the wall, with a closer view showing thousands of needles woven into the fabric

Doris Salcedo (Colombian, b. 1958)
Disremembered V, 2015
Raw silk and nickel-plated steel

In Disremembered V, Doris Salcedo focused on US gun violence. Made of raw silk interwoven with 12,000 sewing needles, Disremembered V shimmers alluringly, but also implies pain and danger. Salcedo created the work in response to conversations she had with mothers of children killed by gun violence in Chicago.
Both delicate and sharp, Disremembered V evokes the fragility of life and the insurmountable grief that remains after the death of a loved one. The garment also recalls a long history of weaving burial shrouds as an act of mourning.

Ben Millett@benmillett· 24d

Doris Salcedo (Colombian, b. 1958) Atrabiliarios, 1992-1993 Sheetrock, wood, shoes, animal fiber and surgical thread Pulitzer Arts Foundation (Part of label description in alt)

Full view of 10 holes in the wall covered with a film
Doris Salcedo (Colombian, b. 1958)
Atrabiliarios, 1992-1993
Sheetrock, wood, shoes, animal fiber and surgical thread
Pulitzer Arts Foundation

In Atrabiliarios, niches set into the wall and covered in animal fiber hold shoes that once belonged to people who were disappeared during decades of political violence in Colombia. In the armed conflict between the government, multiple guerilla and paramilitary groups, and crime syndicates, at least 450,000 people were killed and 120,000 disappeared. As personal belongings, the shoes attest to their owners' lives as well as their absence-shoes were often used to identify bodies …

Closer view of 3 holes in the wall covered with a film
Doris Salcedo (Colombian, b. 1958)
Atrabiliarios, 1992-1993
Sheetrock, wood, shoes, animal fiber and surgical thread
Pulitzer Arts Foundation

In Atrabiliarios, niches set into the wall and covered in animal fiber hold shoes that once belonged to people who were disappeared during decades of political violence in Colombia. In the armed conflict between the government, multiple guerilla and paramilitary groups, and crime syndicates, at least 450,000 people were killed and 120,000 disappeared. As personal belongings, the shoes attest to their owners' lives as well as their absence-shoes were often used to identify bodies …

Close up of one hole in the wall covered with a film
Doris Salcedo (Colombian, b. 1958)
Atrabiliarios, 1992-1993
Sheetrock, wood, shoes, animal fiber and surgical thread
Pulitzer Arts Foundation

In Atrabiliarios, niches set into the wall and covered in animal fiber hold shoes that once belonged to people who were disappeared during decades of political violence in Colombia. In the armed conflict between the government, multiple guerilla and paramilitary groups, and crime syndicates, at least 450,000 people were killed and 120,000 disappeared. As personal belongings, the shoes attest to their owners' lives as well as their absence-shoes were often used to identify bodies …

Ben Millett@benmillett· 24d

Ellsworth Kelly (American, 1923-2015) Dark Gray, White, Gray, 1980 Oil on canvas, three panels (Label description in alt)

Full view of

Ellsworth Kelly (American, 1923-2015)
Dark Gray, White, Gray, 1980
Oil on canvas, three panels

Dark Gray, White, Gray is made of three equally-sized canvases painted in shades of gray and white. The light gray canvas on the right is slightly higher than the dark gray panel on the left.
Ellsworth Kelly selected a particularly dark hue for the leftmost panel to give it more visual weight. The central canvas is almost dematerialized, seeming to disappear against the backdrop of a white wall. Like Kelly, Serra was also interested in the difficult task of finding balance among three similar elements.

Detail of the lower Corner of dark gray and white.

Ellsworth Kelly (American, 1923-2015)
Dark Gray, White, Gray, 1980
Oil on canvas, three panels
Dark Gray, White, Gray is made of three equally-sized canvases painted in shades of gray and white. The light gray canvas on the right is slightly higher than the dark gray panel on the left.
Ellsworth Kelly selected a particularly dark hue for the leftmost panel to give it more visual weight. The central canvas is almost dematerialized, seeming to disappear against the backdrop of a white wall. Like Kelly, Serra was also interested in the difficult task of finding balance among three similar elements.

Ben Millett@benmillett· 24d

(Remainder are from the Pulitzer Art Foundation’s 25th Anniversary Retrospective.) Ellsworth Kelly (American, 1923-2015) Blue Black, 1988 Oil on canvas

Full-on view of a large blue rectangle at a 45deg with a long thin rectangle attached at the top-left-now-left corner.

Ellsworth Kelly (American, 1923-2015)
Blue Black, 1988
Oil on canvas

Corner of the blue canvas showing the unfinished sides.

Ellsworth Kelly (American, 1923-2015)
Blue Black, 1988
Oil on canvas

Ben Millett@benmillett· 24d

Janie Stamm: Mermaid’s Purse Relic VI (Memory Tree), 2023 Sea fan with beach detritus on coquina-like rock, shells from Florida, chain, jump rings, starfish Courtesy the artist (I didn’t realize the overhead lights made everything peach.)

Full view of a rock and sea fan with various things attached.

Janie Stamm: Mermaid’s Purse

Relic VI (Memory Tree), 2023
Sea fan with beach detritus on coquina-like rock, shells from Florida, chain, jump rings, starfish
Courtesy the artist

Detail view of a starfish wrapped in chains.

Janie Stamm: Mermaid’s Purse

Relic VI (Memory Tree), 2023
Sea fan with beach detritus on coquina-like rock, shells from Florida, chain, jump rings, starfish
Courtesy the artist

Detail view of an open shell hung by a chain

Janie Stamm: Mermaid’s Purse

Relic VI (Memory Tree), 2023
Sea fan with beach detritus on coquina-like rock, shells from Florida, chain, jump rings, starfish
Courtesy the artist

Ben Millett@benmillett· 24d

Janie Stamm: Mermaid's Purse Dorothy, 2019-2021 Fabric, glass beads, shells and sand from Florida, o-rings, canvas, rivets Courtesy the artist (I didn’t realize the overhead lights caused a green hue.)

Full view of a wall hanging. It has the words “Beach reserved for friends of Dorothy” and is ringed by shells

Janie Stamm
Dorothy, 2019-2021
Fabric, glass beads, shells and sand from Florida, o-rings, canvas, rivets
Courtesy the artist

Detail view of a wall hanging. It has the words “Beach reserved for friends of Dorothy” and is ringed by shells

Janie Stamm
Dorothy, 2019-2021
Fabric, glass beads, shells and sand from Florida, o-rings, canvas, rivets
Courtesy the artist

Ben Millett@benmillett· 24d

Andrea Carlson Cast a Shadow, 2021 Oil, acrylic, gouache, ink, colored pencil, and graphite on paper Assembled suite of 24 Forge Project Collection, traditional lands of the Moh-He-Con-Nuck (Label description in alt; be sure to zoom for more details)

Long distance view of:

Cast a Shadow, 2021
Oil, acrylic, gouache, ink, colored pencil, and graphite on paper
Assembled suite of 24

Cast a Shadow was created in 2021 amid global debates over monuments and collective memory, and reflects on forms of commemoration. Across the painting, Carlson repeats imagery of games, dolls, and mounds of earth that carry personal and broader cultural significance. At the center of the painting, these images coalesce around a stone structure floating above the landscape— a reference to a drawing by the late artist George Morrison of a proposed tombstone that was never realized. Carlson depicts Morrison's monument surrounded by sources of light, yet it casts no shadows.
She hints at the idea that commemoration can be expressed through memory, ideas, and actions rather than physical objects.

Closer, but still Long distance view of:

Cast a Shadow, 2021
Oil, acrylic, gouache, ink, colored pencil, and graphite on paper
Assembled suite of 24

Cast a Shadow was created in 2021 amid global debates over monuments and collective memory, and reflects on forms of commemoration. Across the painting, Carlson repeats imagery of games, dolls, and mounds of earth that carry personal and broader cultural significance. At the center of the painting, these images coalesce around a stone structure floating above the landscape— a reference to a drawing by the late artist George Morrison of a proposed tombstone that was never realized. Carlson depicts Morrison's monument surrounded by sources of light, yet it casts no shadows.
She hints at the idea that commemoration can be expressed through memory, ideas, and actions rather than physical objects.

Closer views of four panels of:
Cast a Shadow, 2021
Oil, acrylic, gouache, ink, colored pencil, and graphite on paper
Assembled suite of 24

Cast a Shadow was created in 2021 amid global debates over monuments and collective memory, and reflects on forms of commemoration. Across the painting, Carlson repeats imagery of games, dolls, and mounds of earth that carry personal and broader cultural significance. At the center of the painting, these images coalesce around a stone structure floating above the landscape— a reference to a drawing by the late artist George Morrison of a proposed tombstone that was never realized. Carlson depicts Morrison's monument surrounded by sources of light, yet it casts no shadows.
She hints at the idea that commemoration can be expressed through memory, ideas, and actions rather than physical objects.

Detail of one panel of:

Cast a Shadow, 2021
Oil, acrylic, gouache, ink, colored pencil, and graphite on paper
Assembled suite of 24

Cast a Shadow was created in 2021 amid global debates over monuments and collective memory, and reflects on forms of commemoration. Across the painting, Carlson repeats imagery of games, dolls, and mounds of earth that carry personal and broader cultural significance. At the center of the painting, these images coalesce around a stone structure floating above the landscape— a reference to a drawing by the late artist George Morrison of a proposed tombstone that was never realized. Carlson depicts Morrison's monument surrounded by sources of light, yet it casts no shadows.
She hints at the idea that commemoration can be expressed through memory, ideas, and actions rather than physical objects.

Ben Millett@benmillett· 24d

Andrea Carlson Anti-Retro, 2018 19-layer screenprint on paper Edition of 20 Published by Highpoint Editions, Minneapolis Courtesy the artist and Jessica Silverman, San Francisco (Label description in alt)

Full view of:

Andrea Carlson
Anti-Retro, 2018
19-layer screenprint on paper

In this print, viewers find images referencing the Western genre-fighting cowboys and a falling horse-floating against a backdrop of mountains and a seemingly endless seascape. Waterways which have historically served as conduits for trade and conflict are allegorically referenced in Carlson's work for their role in the continual change of culture. She notes, "as the shore rises up, fluid, all-consuming, and assimilating, it represents the potential for all histories to be folded back into the earth."

Detail of:

Andrea Carlson
Anti-Retro, 2018
19-layer screenprint on paper
Edition of 20

In this print, viewers find images referencing the Western genre-fighting cowboys and a falling horse-floating against a backdrop of mountains and a seemingly endless seascape. Waterways which have historically served as conduits for trade and conflict are allegorically referenced in Carlson's work for their role in the continual change of culture. She notes, "as the shore rises up, fluid, all-consuming, and assimilating, it represents the potential for all histories to be folded back into the earth."

Ben Millett@benmillett· Jul 11

Whoops. The grocery store did have Field Day Featherweight Lime Lager, but I got curious how it stood up against all the other lime beers.

A row of single can/bottle of lime editions of:
Garage Beer, Odell Brewing Co, Field Day, Dos Equis, Modelo, Big Grove, and bud light

A row of the smallest case available of lime editions of:
Garage Beer, Odell Brewing Co, Field Day, Dos Equis, Modelo, Big Grove, and bud light

Ben Millett@benmillett· Jul 7

This is exactly what I expected. bambamramfan.github.io/ai-compass/

A graph/cloud showing my answers about GenAI put me in the bottom left in the "overhyped" and "bad" corner.

Ben Millett@benmillett· Jul 6

I’m definitely not compelled or obsessed about things, says the man who listened to Mumford & Sons entire discography this weekend, just added every type of lime lager at the grocery store to a shopping cart after having one at lunch, or added every Noah Kahan album to my music app this evening.

Screenshot of five different lime lagers in a shopping cart.

Screenshot of Marvis, an Apple Music app, with all Noah Kahan albums, including the deluxe version of The Great Divide

Ben Millett@benmillett· Jul 6

I'm really disappointed this shirt from Self Esteem isn't available in the US. www.musicglue.com/self-esteem/...

A white t-shirt with this text in black: "AI is for lazy cunts"

Ben Millett@benmillett· Jul 3

Whipped up a patchwork-based typeface this morning and am debating its utility, even for me, since it'll only ever be two colors.

Screenshot of text, each letter a patchwork shape.
First three rows are A-Z, next three rows are letters in QWERTY order.
Bottom set is start of Book of Benjamin text.

Ben Millett@benmillett· Jul 2

On a whim, I pulled together this collection of thread, as something to play with. Not sure what it'll become.

Seven spools of thread are held in a plastic container. The colors are greens and yellows in various values.

Ben Millett@benmillett· Jul 1

I'm trying to keep my Letterboxd updated, even though I don't add a text review for everything. I found a tool online that told me no one else has the same Top Four, which is both obvious and shocking. letterboxd.com/benmillett/

Screenshot of my Top 4: A Single Man, Midsommar, Portrait of a Lady on Fire, The Testament of Ann Lee.

Ben Millett@benmillett· Jun 30

The Quilted Grotesk Micro zine has been updated to include the improved C, G, O, Q, c, o, and all numbers used in the digital typeface. I have no plans to add uppercase letters to the Quilted Grotesk zine. It is the same as before since none of the glyphs were modified. benmillett.net/shop/zines