UI
SemiBold
UI
SemiBold
Sans
UI
SemiBold
Sans
UI
SemiBold
Information
Information
Cal Sans started as a headline face — a love letter to digital builders. People used it everywhere anyway and they begged for more styles, so WORDMARK redrew it to actually work everywhere to finish the job.
v2 is one variable font with three optical sizes built in: Cal Sans for punchy headlines (30–45px), Cal Sans Text for running copy (14–24px), and Cal Sans Micro for functional text components like meta tags, labels, table column headings, pill/toast text—anything below 14px. Cal Sans variable automatically adjusts size-specific letter spacing and apertures, and picks the right alternates for you.
It’s a geometric sans serif built for tough use cases. Letters behave the way readers expect. It stays warm where most geometrics go cold — more bounce per ounce, but still transparent, neutral, unopinionated. And when you need horsepower, the tight headlines turn heads with nothing but simplicity.
Funded by Cal.com, released free through Google Fonts and professional collections like Adobe Fonts.
Cal Sans started as a headline face — a love letter to digital builders. People used it everywhere anyway and they begged for more styles, so WORDMARK redrew it to actually work everywhere to finish the job.
v2 is one variable font with three optical sizes built in: Cal Sans for punchy headlines (30–45px), Cal Sans Text for running copy (14–24px), and Cal Sans Micro for functional text components like meta tags, labels, table column headings, pill/toast text—anything below 14px. Cal Sans variable automatically adjusts size-specific letter spacing and apertures, and picks the right alternates for you.
It’s a geometric sans serif built for tough use cases. Letters behave the way readers expect. It stays warm where most geometrics go cold — more bounce per ounce, but still transparent, neutral, unopinionated. And when you need horsepower, the tight headlines turn heads with nothing but simplicity.
Funded by Cal.com, released free through Google Fonts and professional collections like Adobe Fonts.
Credits & acknowledgements
Typeface Design and Mastering
WORDMARK, the typographic practice of Mark Davis.
Acknowledgements
Thank you to Peer for commissioning this project. I wanted to also thank Wei Huang for his Open Source “Perfect Glyphs Example File” that is Work Sans dot glyphs. Incredibly helpful, and exhibits genius.
The following people were invaluable to this project, in no specific order, with an undisclosed amount of personal (or impersonal) influence:
Paul Renner
Roger Black, David Berlow, Tobias Frere-Jones, Matthew Carter, Jonathan Hoefler
Hannes Famira, Cara Di Edwardo, Andy Clymer, David Jonathan Ross, Thomas Jockin
Megumi Tanaka for Framer development
Eva Roa my love, WORDMARK COO and resident Python expert and evaGPT terminal; Doriel Jacov
Scott and Lori Davis for the support
Supported languages
Afrikaans • Albanian • Asturian • Asu • Azerbaijani • Basque • Bemba • Bena • Bosnian • Breton • Catalan • Cebuano • Chiga • Colognian • Cornish • Corsican • Croatian • Czech • Danish • Embu • English • Esperanto • Estonian • Faroese • Filipino • Finnish • French • Friulian • Galician • Ganda • German • Gusii • Haitian Creole • Hawaiian • Hungarian • Icelandic • Ido • Igbo • Inari Sami • Indonesian • Interlingua • Irish • Italian • Javanese • Jju • Jola-Fonyi • Kabuverdianu • Kalaallisut • Kalenjin • Kamba • Kikuyu • Kinyarwanda • Latvian • Lithuanian • Lojban • Lower Sorbian • Luo • Luxembourgish • Luyia • Machame • Makhuwa-Meetto • Makonde • Malagasy • Malay • Maltese • Manx • Māori • Mapuche • Marshalleese • Meru • Mohawk • Morisyen • Mvskoke • North Ndebele • North Sámi • Northern Sotho • Norwegian Bokmål • Norwegian Nynorsk • Nyanja • Nyankole • Occitan • Oromo • Pite Sámi • Polish • Portuguese • Quechua • Romanian • Romansh • Rombo • Rundi • Rwa • Samburu • Samoan • Sango • Sangu • Sardinian • Scottish Gaelic • Sena • Serbian • Shambala • Shona • Sicilian • Slovak • Slovenian • Soga • Somali • South Ndebele • Southern Sotho • Spanish • Sundanese • Swahili • Swati • Swedish • Swiss German • Taita • Taroko • Teso • Tongan • Tsonga • Tswana • Turkish • Turkmen • Ume Sámi • Upper Sorbian • Uzbek • Vietnamese • Vunjo • Walloon • Welsh • Wolastoqey • Wolof • Xhosa • Zulu
Release history
2025.12.09 v1.500 Cal Sans UI & Cal Sans Text.
Axes:
MODE 0–1
wght 300–7002026.03.15 v1.600 Cal Sans UI, Cal Sans Text, Cal Sans Geo. Internal RC only, depreciated.
Axes:
GEOM 0–100
wght 400–7002026.09.23 v2.003. Sizes: Cal Sans, Cal Sans Text, Cal Sans Micro. Stylistic families: A11y, UI, Base, Geo.
Axes:
GEOM 0–100
SHRP: 0–100
YTAS: 1440–1600
opsz: 8–45
wght 400–700
Credits & acknowledgements
Typeface design, mastering, and variable typeface animations
WORDMARK, the typographic practice of Mark Davis
Acknowledgements
Thank you to Peer and Cal.com for commissioning this project.
The following people were invaluable to this project, in no specific order, with an undisclosed amount of personal (or impersonal) influence:
Paul Renner
Roger Black, David Berlow, Tobias Frere-Jones, Matthew Carter, Jonathan Hoefler
Nina Stössinger, Troy Leinster, Matthew Rechs
Hannes Famira, Cara Di Edwardo, Andy Clymer, David Jonathan Ross, Thomas Jockin
Megumi Tanaka for Framer development and content strategy
Eva Roa my love, WORDMARK COO and resident Python expert and evaGPT terminal; Doriel Jacov
Scott and Lori Davis for the support
Supported languages
Afrikaans • Albanian • Asturian • Asu • Azerbaijani • Basque • Bemba • Bena • Bosnian • Breton • Catalan • Cebuano • Chiga • Colognian • Cornish • Corsican • Croatian • Czech • Danish • Embu • English • Esperanto • Estonian • Faroese • Filipino • Finnish • French • Friulian • Galician • Ganda • German • Gusii • Haitian Creole • Hawaiian • Hungarian • Icelandic • Ido • Igbo • Inari Sami • Indonesian • Interlingua • Irish • Italian • Javanese • Jju • Jola-Fonyi • Kabuverdianu • Kalaallisut • Kalenjin • Kamba • Kikuyu • Kinyarwanda • Latvian • Lithuanian • Lojban • Lower Sorbian • Luo • Luxembourgish • Luyia • Machame • Makhuwa-Meetto • Makonde • Malagasy • Malay • Maltese • Manx • Māori • Mapuche • Marshalleese • Meru • Mohawk • Morisyen • Mvskoke • North Ndebele • North Sámi • Northern Sotho • Norwegian Bokmål • Norwegian Nynorsk • Nyanja • Nyankole • Occitan • Oromo • Pite Sámi • Polish • Portuguese • Quechua • Romanian • Romansh • Rombo • Rundi • Rwa • Samburu • Samoan • Sango • Sangu • Sardinian • Scottish Gaelic • Sena • Serbian • Shambala • Shona • Sicilian • Slovak • Slovenian • Soga • Somali • South Ndebele • Southern Sotho • Spanish • Sundanese • Swahili • Swati • Swedish • Swiss German • Taita • Taroko • Teso • Tongan • Tsonga • Tswana • Turkish • Turkmen • Ume Sámi • Upper Sorbian • Uzbek • Vietnamese • Vunjo • Walloon • Welsh • Wolastoqey • Wolof • Xhosa • Zulu
Release history
2025.12.09 v1.500 Cal Sans UI & Cal Sans Text.
Axes:
MODE 0–1
wght 300–7002026.03.15 v1.600 Cal Sans UI, Cal Sans Text, Cal Sans Geo. Internal RC only, depreciated.
Axes:
GEOM 0–100
wght 400–7002026.09.23 v2.003. Sizes: Cal Sans, Cal Sans Text, Cal Sans Micro. Stylistic families: A11y, UI, Base, Geo.
Axes:
GEOM 0–100
SHRP: 0–100
YTAS: 1440–1600
opsz: 8–45
wght 400–700
An open, warm, brand-conscious sans serif.
An open, warm, brand-conscious sans serif.
An open, warm, brand-conscious sans serif.
An open, warm, brand-conscious sans serif.
One typographic voice
One typographic voice
One typographic voice
from banner to button.
from banner to button.
from banner to button.
Drops in clean.
Drops in clean.
Drops in clean.
Just warmer.
Just warmer.
Just warmer.
Geometry and flow,
Geometry and flow,
Geometry and flow,
balanced automatically.
balanced automatically.
balanced automatically.
Version 2.000
Simple, bold, confident for brands like Cal.com—now from billboard to button. 600 to 1,530 glyphs. Six variable axes. Hundreds of static options. It’s ready, are you?
Simple, bold, confident for brands like Cal.com—now from billboard to button. 600 to 1,530 glyphs. Six variable axes. Hundreds of static options. It’s ready, are you?
01
opsz
Optical Size
Feature text
Adjusts size-specific letter spacing and apertures, and picks the right alternates for you
01
opsz
Optical Size
Feature text
Adjusts size-specific letter spacing and apertures, and picks the right alternates for you
02
GEOM
Geometric Form
Feature text
Swaps hundreds of letter variants in sync
02
GEOM
Geometric Form
Feature text
Swaps hundreds of letter variants in sync
03
wght
Weight
Feature text
Fine tune the thickness of letters in-between styles for precise contrast or preference
03
wght
Weight
Feature text
Fine tune the thickness of letters in-between styles for precise contrast or preference
04
YTAS
Ascender Height
Feature text
Parametrically adjust tall lowercase letters to distinguish from Capitals, numerals, and short lowercase
04
YTAS
Ascender Height
Feature text
Parametrically adjust tall lowercase letters to distinguish from Capitals, numerals, and short lowercase
05
SHRP
Sharpness
Feature text
Control the corners formed by joining strokes to become perfectly pointed, or blunt
05
SHRP
Sharpness
Feature text
Control the corners formed by joining strokes to become perfectly pointed, or blunt
06
ital
Italic
Feature text
Slant glyphs by 9.5° for emphasis
06
ital
Italic
Feature text
Slant glyphs by 9.5° for emphasis
Made for humans
Made for humans
Like its namesake product, Cal Sans is easy to use. Every vector placed to automatically balance geometry or flow just right for you.
Like its namesake product, Cal Sans is easy to use. Every vector placed to automatically balance geometry or flow just right for you.
D
Drawn for performance
Drawn for performance
How do you build successful text? A fully redrawn Cal Sans Text characterset optimized for Tailwind’s text-sm and text‑base aka 14px/10.5pt and 16px/12pt type sizes, respectively. For starters, round-shaped letters are slightly squeezed to save space, but still differentiate from square-shaped letters. Glyphs and metrics of the families have been enlarged 103–105% to work the way you expect, no surprises.
original branding face
legible spaces
lowered x-height
original branding face
open apertures and spacing
lowered x-height
original branding face
legible spaces
lowered x-height
original branding face
legible spaces
lowered x-height
Mal.com
Get better-looking layout, in any size, for free.
Get better-looking layout, in any size, for free.
Automatic optical sizing in variable fonts like Cal Sans is enabled by default in web browsers, Apple Core Text, Windows 11, DirectWrite, and typographically-oriented software like InDesign. Spend less time choosing cuts of Cal Sans and more time building pristine text.
Scheduling infrastructure for absolutely everyone
OPSZ 8.00 fixed size · size variations highlight
Scheduling infrastructure for absolutely everyone
8.00PT use · automatic optical sizing feature
Scheduling infrastructure for absolutely everyone
OPSZ 8.00 fixed size · size variations highlight
Scheduling infrastructure for absolutely everyone
8.00PT use · automatic optical sizing feature
Scheduling infrastructure for absolutely everyone
OPSZ 8.00 fixed size · size variations highlight
Scheduling infrastructure for absolutely everyone
8.00PT use · automatic optical sizing feature
Scheduling infrastructure for absolutely everyone
OPSZ 8.00 fixed size · size variations highlight
Scheduling infrastructure for absolutely everyone
8.00PT use · automatic optical sizing feature
Big apertures for legible letters
Big apertures for legible letters
The acid test for legibility is to simulate the inevitable bad conditions. This separates the beautiful type designs from the dryly functional. I recommend blurring it. This simulates quickly-moving eyes, poor light, a far screen, or degenerative optical conditions.
The acid test for legibility is to simulate the inevitable bad conditions. This separates the beautiful type designs from the dryly functional. I recommend blurring it. This simulates quickly-moving eyes, poor light, a far screen, or degenerative optical conditions.
acted
acted
acted
Almost too future-proof
Almost too future-proof
If you’ve ever dreamed of being a trailblazer, you can use Cal Sans Flex VF to not only swap between alternatives, you can morph between them. It introduces more transition points so they can appear more often in animations and transitions.
If you’ve ever dreamed of being a trailblazer, you can use Cal Sans Flex VF to not only swap between alternatives, you can morph between them. It introduces more transition points so they can appear more often in animations and transitions.
Make it yours
Make it yours
Remix it. Build on it. Start your own. See something you’d change? Open an issue and let’s talk. Most typographic “edge cases” are just undiscovered use cases.
Remix it. Build on it. Start your own. See something you’d change? Open an issue and let’s talk. Most typographic “edge cases” are just undiscovered use cases.
Fork and download it online, no font design tools needed
Fork and download it online, no font design tools needed
Change “swap” points of glyphs in your own ReCal Sans OFL Fork ReBuilder, or change the default set, remap the optical size for large print or 5-foot TV display.
Three ways to use Cal Sans, anywhere
Three ways to use Cal Sans, anywhere
Change “swap” points of glyphs in your own ReCal Sans OFL Fork ReBuilder, or change the default set, remap the optical size for large print or 5-foot TV display.
01
GEOM Axis
The custom GEOM OpenType variable axis swaps hundreds of alternatives with one click
01
GEOM Axis
The custom GEOM OpenType variable axis swaps hundreds of alternatives with one click
01
GEOM Axis
The custom GEOM OpenType variable axis swaps hundreds of alternatives with one click
01
GEOM Axis
The custom GEOM OpenType variable axis swaps hundreds of alternatives with one click
02
ssXX & cvXX
Stylistic Set and Character Variant OpenType features let you choose exactly what you want to change
02
ssXX & cvXX
Stylistic Set and Character Variant OpenType features let you choose exactly what you want to change
02
ssXX & cvXX
Stylistic Set and Character Variant OpenType features let you choose exactly what you want to change
02
ssXX & cvXX
Stylistic Set and Character Variant OpenType features let you choose exactly what you want to change
03
Fork ReCal Sans
Change “swap” points of glyphs in your own ReCal Sans OFL Fork ReBuilder, or change the default set, remap the optical size for large print or 5-foot TV display.
03
Fork ReCal Sans
Change “swap” points of glyphs in your own ReCal Sans OFL Fork ReBuilder, or change the default set, remap the optical size for large print or 5-foot TV display.
03
Fork ReCal Sans
Change “swap” points of glyphs in your own ReCal Sans OFL Fork ReBuilder, or change the default set, remap the optical size for large print or 5-foot TV display.
03
Fork ReCal
Change “swap” points of glyphs in your own ReCal Sans OFL Fork ReBuilder, or change the default set, remap the optical size for large print or 5-foot TV display.
03
Fork ReCal Sans
Change “swap” points of glyphs in your own ReCal Sans OFL Fork ReBuilder, or change the default set, remap the optical size for large print or 5-foot TV display.
For any UI worth building
For any UI worth building
Balanced metrics. Caps matched to ascenders. Vertical alignment shared with Inter, Geist, Roboto, Helvetica, SF Pro, and Segoe UI. The warmth is new. The foundation is familiar. 400 components, maintained by Cal, ready for anyone.
Balanced metrics. Caps matched to ascenders. Vertical alignment shared with Inter, Geist, Roboto, Helvetica, SF Pro, and Segoe UI. The warmth is new. The foundation is familiar. 400 components, maintained by Cal, ready for anyone.
Weights
Weights
OPSZ 45 · GEOM 0
OPSZ 45 · GEOM 0
Cal Sans A11y Regular
Cal Sans A11y Regular
A11y Regular
Cal Sans A11y Medium
Cal Sans A11y Medium
A11y Medium
Cal Sans A11y SemiBold
Cal Sans A11y SemiBold
A11y SemiBold
Cal Sans A11y Bold
A11y Bold
OPSZ 45 · GEOM 0 · ITAL 1
OPSZ 45 · GEOM 0 · ITAL 1
Cal Sans A11y Italic
Cal Sans A11y Italic
A11y Italic
Cal Sans A11y Medium Italic
Cal Sans A11y Medium Italic
A11y Medium Italic
Cal Sans A11y Bold Italic
A11y Bold Italic
OPSZ 45 · GEOM 25
OPSZ 45 · GEOM 25
Cal Sans UI Regular
Cal Sans UI Regular
UI Regular
Cal Sans UI Medium
Cal Sans UI Medium
UI Medium
Cal Sans UI SemiBold
Cal Sans UI SemiBold
UI SemiBold
Cal Sans UI Bold
Cal Sans UI Bold
UI Bold
OPSZ 45 · GEOM 25 · ITAL 1
OPSZ 45 · GEOM 25 · ITAL 1
Cal Sans UI Italic
Cal Sans UI Italic
UI Italic
Cal Sans UI Medium Italic
Cal Sans UI Medium Italic
UI Medium Italic
Cal Sans UI SemiBold Italic
Cal Sans UI SemiBold Italic
UI SemiBold Italic
Cal Sans UI Bold Italic
Cal Sans UI Bold Italic
UI Bold Italic
OPSZ 45 · GEOM 50
OPSZ 45 · GEOM 50
Cal Sans Regular
Cal Sans Regular
Regular
Cal Sans Medium
Cal Sans Medium
Medium
Cal Sans SemiBold
Cal Sans SemiBold
SemiBold
Cal Sans Bold
Cal Sans Bold
Bold
OPSZ 45 · GEOM 50 · ITAL 1
OPSZ 45 · GEOM 50 · ITAL 1
Cal Sans Italic
Cal Sans Italic
Italic
Cal Sans Medium Italic
Cal Sans Medium Italic
Medium Italic
Cal Sans SemiBold Italic
Cal Sans SemiBold Italic
SemiBold Italic
Cal Sans Bold Italic
Cal Sans Bold Italic
Bold Italic
OPSZ 45 · GEOM 100
OPSZ 45 · GEOM 100
Cal Sans Geo Regular
Cal Sans Geo Regular
Geo Regular
Cal Sans Geo Medium
Cal Sans Geo Medium
Geo Medium
Cal Sans Geo SemiBold
Cal Sans Geo SemiBold
Geo SemiBold
Cal Sans Geo Bold
Cal Sans Geo Bold
Geo Bold
OPSZ 45 · GEOM 100 · ITAL 1
OPSZ 45 · GEOM 100 · ITAL 1
Cal Sans Geo Italic
Cal Sans Geo Italic
Geo Italic
Cal Sans Geo Medium Italic
Cal Sans Geo Medium Italic
Geo Medium Italic
Cal Sans Geo SemiBold Italic
Cal Sans Geo SemiBold Italic
Geo SemiBold Italic
Cal Sans Geo Bold Italic
Cal Sans Geo Bold Italic
Geo Bold Italic
GEOM 0
GEOM 0
Cal Sans Text A11y Regular
Cal Sans Text A11y Regular
Cal Sans Text A11y Regular
Text A11y Regular
Cal Sans Text A11y Medium
Cal Sans Text A11y Medium
Cal Sans Text A11y Medium
Text A11y Medium
Cal Sans Text A11y SemiBold
Cal Sans Text A11y SemiBold
Cal Sans Text A11y SemiBold
Text A11y SemiBold
Cal Sans Text A11y Bold
Cal Sans Text A11y Bold
Cal Sans Text A11y Bold
Text A11y Bold
GEOM 0 · ITAL 1
GEOM 0 · ITAL 1
Cal Sans Text A11y Italic
Cal Sans Text A11y Italic
Cal Sans Text A11y Italic
Text A11y Italic
Cal Sans Text A11y Medium Italic
Cal Sans Text A11y Medium Italic
Cal Sans Text A11y Medium Italic
Text A11y Medium Italic
Cal Sans Text A11y SemiBold Italic
Cal Sans Text A11y SemiBold Italic
Cal Sans Text A11y SemiBold Italic
Text A11y SemiBold Italic
Cal Sans Text A11y Bold Italic
Cal Sans Text A11y Bold Italic
Cal Sans Text A11y Bold Italic
Text A11y Bold Italic
GEOM 25
GEOM 25
Cal Sans Text UI Regular
Cal Sans Text UI Regular
Cal Sans Text UI Regular
Text UI Regular
Cal Sans Text UI Medium
Cal Sans Text UI Medium
Cal Sans Text UI Medium
Text UI Medium
Cal Sans Text UI SemiBold
Cal Sans Text UI SemiBold
Cal Sans Text UI SemiBold
Text UI SemiBold
Cal Sans Text UI Bold
Cal Sans Text UI Bold
Cal Sans Text UI Bold
Text UI Bold
GEOM 25 · ITAL 1
GEOM 25 · ITAL 1
Cal Sans Text UI Italic
Cal Sans Text UI Italic
Cal Sans Text UI Italic
Text UI Italic
Cal Sans Text UI Medium Italic
Cal Sans Text UI Medium Italic
Cal Sans Text UI Medium Italic
Text UI Medium Italic
Cal Sans Text UI SemiBold Italic
Cal Sans Text UI SemiBold Italic
Cal Sans Text UI SemiBold Italic
Text UI SemiBold Italic
Cal Sans Text UI Bold Italic
Cal Sans Text UI Bold Italic
Cal Sans Text UI Bold Italic
Text UI Bold Italic
GEOM 50
GEOM 50
Cal Sans Text Regular
Cal Sans Text Regular
Cal Sans Text Regular
Text Regular
Cal Sans Text Medium
Cal Sans Text Medium
Cal Sans Text Medium
Text Medium
Cal Sans Text SemiBold
Cal Sans Text SemiBold
Cal Sans Text SemiBold
Text SemiBold
Cal Sans Text Bold
Cal Sans Text Bold
Cal Sans Text Bold
Text Bold
GEOM 50 · ITAL 1
GEOM 50 · ITAL 1
Cal Sans Text Italic
Cal Sans Text Italic
Cal Sans Text Italic
Text Italic
Cal Sans Text Medium Italic
Cal Sans Text Medium Italic
Cal Sans Text Medium Italic
Text Medium Italic
Cal Sans Text SemiBold Italic
Cal Sans Text SemiBold Italic
Cal Sans Text SemiBold Italic
Text SemiBold Italic
Cal Sans Text Bold Italic
Cal Sans Text Bold Italic
Cal Sans Text Bold Italic
Text Bold Italic
GEOM 100
GEOM 100
Cal Sans Text Geo Regular
Cal Sans Text Geo Regular
Cal Sans Text Geo Regular
Text Geo Regular
Cal Sans Text Geo Medium
Cal Sans Text Geo Medium
Cal Sans Text Geo Medium
Text Geo Medium
Cal Sans Text Geo SemiBold
Cal Sans Text Geo SemiBold
Cal Sans Text Geo SemiBold
Text Geo SemiBold
Cal Sans Text Geo Bold
Cal Sans Text Geo Bold
Cal Sans Text Geo Bold
Text Geo Bold
GEOM 100 · ITAL 1
GEOM 100 · ITAL 1
Cal Sans Text Geo Italic
Cal Sans Text Geo Italic
Cal Sans Text Geo Italic
Text Geo Italic
Cal Sans Text Geo Medium Italic
Cal Sans Text Geo Medium Italic
Cal Sans Text Geo Medium Italic
Text Geo Medium Italic
Cal Sans Text Geo SemiBold Italic
Cal Sans Text Geo SemiBold Italic
Cal Sans Text Geo SemiBold Italic
Text Geo SemiBold Italic
Cal Sans Text Geo Bold Italic
Cal Sans Text Geo Bold Italic
Cal Sans Text Geo Bold Italic
Text Geo Bold Italic
For every project throughout the universe
For every project throughout the universe
Cal Sans UI is OFL, which means type it, print it, embed it anywhere you please. Free.
Cal Sans UI is OFL, which means type it, print it, embed it anywhere you please. Free.
Cal Sans Text
Regular
GEOM 0: A11Y
Architects, sculptors, painters—we all must return to craftsmanship! For there is no such thing as “art by profession.” There is no essential difference between the artist and the artisan. The artist is an exalted artisan. Merciful heaven, in rare moments of illumination beyond man’s will, may allow art to blossom from the works of his hand, but the foundations of proficiency are indispensable to every artist. This is the original source of creative design. So let us therefore create a new guild of craftsmen, free of the divisive class pretensions that endeavoured to raise a prideful barrier between craftsmen and artists! Let us strive for, conceive and create the new building of the future that will unite every discipline, architecture and sculpture and painting, and which will one day rise heavenwards from the million hands of craftsmen as a clear symbol of a new belief to come. The art schools of old were incapable of producing this unity—and how could they, for art may not be taught. They must return to the workshop. This world of mere drawing and painting of draughtsmen and applied artists must at long last become a world that builds. When a young person who senses within himself a love for creative endeavour begins his career, as in the past, by learning a trade, the unproductive “artist” will no longer be condemned to the imperfect practice of art because his skill is now preserved in craftsmanship, where he may achieve excellence.
Architects, sculptors, painters—we all must return to craftsmanship! For there is no such thing as “art by profession.” There is no essential difference between the artist and the artisan. The artist is an exalted artisan. Merciful heaven, in rare moments of illumination beyond man’s will, may allow art to blossom from the works of his hand, but the foundations of proficiency are indispensable to every artist. This is the original source of creative design. So let us therefore create a new guild of craftsmen, free of the divisive class pretensions that endeavoured to raise a prideful barrier between craftsmen and artists! Let us strive for, conceive and create the new building of the future that will unite every discipline, architecture and sculpture and painting, and which will one day rise heavenwards from the million hands of craftsmen as a clear symbol of a new belief to come. The art schools of old were incapable of producing this unity—and how could they, for art may not be taught. They must return to the workshop. This world of mere drawing and painting of draughtsmen and applied artists must at long last become a world that builds. When a young person who senses within himself a love for creative endeavour begins his career, as in the past, by learning a trade, the unproductive “artist” will no longer be condemned to the imperfect practice of art because his skill is now preserved in craftsmanship, where he may achieve excellence.
Cal Sans Text
Medium
GEOM 0: A11Y
When the shadow of the sash appeared on the curtains it was between seven and eight o’clock and then I was in time again, hearing the watch. It was Grandfather’s and when Father gave it to me he said, Quentin, I give you the mausoleum of all hope and desire; it’s rather excruciatingly apt that you will use it to gain the reducto absurdum of all human experience which can fit your individual needs no better than it fitted his or his father’s. I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools. It was propped against the collar box and I lay listening to it. Hearing it, that is. I don’t suppose anybody ever deliberately listens to a watch or a clock. You don’t have to. You can be oblivious to the sound for a long while, then in a second of ticking it can create in the mind unbroken the long diminishing parade of time you didn’t hear. Like Father said down the long and lonely lightrays you might see Jesus walking, like. And the good Saint Francis that said Little Sister Death, that never had a sister.
When the shadow of the sash appeared on the curtains it was between seven and eight o’clock and then I was in time again, hearing the watch. It was Grandfather’s and when Father gave it to me he said, Quentin, I give you the mausoleum of all hope and desire; it’s rather excruciatingly apt that you will use it to gain the reducto absurdum of all human experience which can fit your individual needs no better than it fitted his or his father’s. I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools. It was propped against the collar box and I lay listening to it. Hearing it, that is. I don’t suppose anybody ever deliberately listens to a watch or a clock. You don’t have to. You can be oblivious to the sound for a long while, then in a second of ticking it can create in the mind unbroken the long diminishing parade of time you didn’t hear. Like Father said down the long and lonely lightrays you might see Jesus walking, like. And the good Saint Francis that said Little Sister Death, that never had a sister.
Cal Sans Text
SemiBold
GEOM 0: A11Y
A screaming comes across the sky. It has happened before, but there is nothing to compare it to now. It is too late. The Evacuation still proceeds, but it’s all theatre. There are no lights inside the cars. No light anywhere. Above him lift girders old as an iron queen, and glass somewhere far above that would let the light of day through. But it’s night. He’s afraid of the way the glass will fall—soon—it will be a spectacle: the fall of a crystal palace. But coming down in total blackout, without one glint of light, only great invisible crashing. Inside the carriage, which is built on several levels, he sits in velveteen darkness, with nothing to smoke, feeling metal nearer and farther rub and connect, steam escaping in puffs, a vibration in the carriage’s frame, a poising, an uneasiness, all the others pressed in around, feeble ones, second sheep, all out of luck and time: drunks, old veterans still in shock from ordnance 20 years obsolete, hustlers in city clothes, derelicts, exhausted women with more children than it seems could belong to anyone, stacked about among the rest of the things to be carried out to salvation.
A screaming comes across the sky. It has happened before, but there is nothing to compare it to now. It is too late. The Evacuation still proceeds, but it’s all theatre. There are no lights inside the cars. No light anywhere. Above him lift girders old as an iron queen, and glass somewhere far above that would let the light of day through. But it’s night. He’s afraid of the way the glass will fall—soon—it will be a spectacle: the fall of a crystal palace. But coming down in total blackout, without one glint of light, only great invisible crashing. Inside the carriage, which is built on several levels, he sits in velveteen darkness, with nothing to smoke, feeling metal nearer and farther rub and connect, steam escaping in puffs, a vibration in the carriage’s frame, a poising, an uneasiness, all the others pressed in around, feeble ones, second sheep, all out of luck and time: drunks, old veterans still in shock from ordnance 20 years obsolete, hustlers in city clothes, derelicts, exhausted women with more children than it seems could belong to anyone, stacked about among the rest of the things to be carried out to salvation.
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Bold
GEOM 0: A11Y
It was the year of Our Lord one thousand seven hundred and seventy-five. Spiritual revelations were conceded to England at that favoured period, as at this. Mrs. Southcott had recently attained her five-and-twentieth blessed birthday, of whom a prophetic private in the Life Guards had heralded the sublime appearance by announcing that arrangements were made for the swallowing up of London and Westminster. Even the Cock-lane ghost had been laid only a round dozen of years, after rapping out its messages, as the spirits of this very year last past (supernaturally deficient in originality) rapped out theirs. Mere messages in the earthly order of events had lately come to the English Crown and People, from a congress of British subjects in America: which, strange to relate, have proved more important to the human race than any communications yet received through any of the chickens of the Cock-lane brood.
It was the year of Our Lord one thousand seven hundred and seventy-five. Spiritual revelations were conceded to England at that favoured period, as at this. Mrs. Southcott had recently attained her five-and-twentieth blessed birthday, of whom a prophetic private in the Life Guards had heralded the sublime appearance by announcing that arrangements were made for the swallowing up of London and Westminster. Even the Cock-lane ghost had been laid only a round dozen of years, after rapping out its messages, as the spirits of this very year last past (supernaturally deficient in originality) rapped out theirs. Mere messages in the earthly order of events had lately come to the English Crown and People, from a congress of British subjects in America: which, strange to relate, have proved more important to the human race than any communications yet received through any of the chickens of the Cock-lane brood.
Cal Sans Text
Regular
GEOM 25: UI
Architects, sculptors, painters—we all must return to craftsmanship! For there is no such thing as “art by profession.” There is no essential difference between the artist and the artisan. The artist is an exalted artisan. Merciful heaven, in rare moments of illumination beyond man’s will, may allow art to blossom from the works of his hand, but the foundations of proficiency are indispensable to every artist. This is the original source of creative design. So let us therefore create a new guild of craftsmen, free of the divisive class pretensions that endeavoured to raise a prideful barrier between craftsmen and artists! Let us strive for, conceive and create the new building of the future that will unite every discipline, architecture and sculpture and painting, and which will one day rise heavenwards from the million hands of craftsmen as a clear symbol of a new belief to come. The art schools of old were incapable of producing this unity—and how could they, for art may not be taught. They must return to the workshop. This world of mere drawing and painting of draughtsmen and applied artists must at long last become a world that builds. When a young person who senses within himself a love for creative endeavour begins his career, as in the past, by learning a trade, the unproductive “artist” will no longer be condemned to the imperfect practice of art because his skill is now preserved in craftsmanship, where he may achieve excellence.
Architects, sculptors, painters—we all must return to craftsmanship! For there is no such thing as “art by profession.” There is no essential difference between the artist and the artisan. The artist is an exalted artisan. Merciful heaven, in rare moments of illumination beyond man’s will, may allow art to blossom from the works of his hand, but the foundations of proficiency are indispensable to every artist. This is the original source of creative design. So let us therefore create a new guild of craftsmen, free of the divisive class pretensions that endeavoured to raise a prideful barrier between craftsmen and artists! Let us strive for, conceive and create the new building of the future that will unite every discipline, architecture and sculpture and painting, and which will one day rise heavenwards from the million hands of craftsmen as a clear symbol of a new belief to come. The art schools of old were incapable of producing this unity—and how could they, for art may not be taught. They must return to the workshop. This world of mere drawing and painting of draughtsmen and applied artists must at long last become a world that builds. When a young person who senses within himself a love for creative endeavour begins his career, as in the past, by learning a trade, the unproductive “artist” will no longer be condemned to the imperfect practice of art because his skill is now preserved in craftsmanship, where he may achieve excellence.
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Medium
GEOM 25: UI
When the shadow of the sash appeared on the curtains it was between seven and eight o’clock and then I was in time again, hearing the watch. It was Grandfather’s and when Father gave it to me he said, Quentin, I give you the mausoleum of all hope and desire; it’s rather excruciatingly apt that you will use it to gain the reducto absurdum of all human experience which can fit your individual needs no better than it fitted his or his father’s. I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools. It was propped against the collar box and I lay listening to it. Hearing it, that is. I don’t suppose anybody ever deliberately listens to a watch or a clock. You don’t have to. You can be oblivious to the sound for a long while, then in a second of ticking it can create in the mind unbroken the long diminishing parade of time you didn’t hear. Like Father said down the long and lonely lightrays you might see Jesus walking, like. And the good Saint Francis that said Little Sister Death, that never had a sister.
When the shadow of the sash appeared on the curtains it was between seven and eight o’clock and then I was in time again, hearing the watch. It was Grandfather’s and when Father gave it to me he said, Quentin, I give you the mausoleum of all hope and desire; it’s rather excruciatingly apt that you will use it to gain the reducto absurdum of all human experience which can fit your individual needs no better than it fitted his or his father’s. I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools. It was propped against the collar box and I lay listening to it. Hearing it, that is. I don’t suppose anybody ever deliberately listens to a watch or a clock. You don’t have to. You can be oblivious to the sound for a long while, then in a second of ticking it can create in the mind unbroken the long diminishing parade of time you didn’t hear. Like Father said down the long and lonely lightrays you might see Jesus walking, like. And the good Saint Francis that said Little Sister Death, that never had a sister.
Cal Sans Text
SemiBold
GEOM 25: UI
A screaming comes across the sky. It has happened before, but there is nothing to compare it to now. It is too late. The Evacuation still proceeds, but it’s all theatre. There are no lights inside the cars. No light anywhere. Above him lift girders old as an iron queen, and glass somewhere far above that would let the light of day through. But it’s night. He’s afraid of the way the glass will fall—soon—it will be a spectacle: the fall of a crystal palace. But coming down in total blackout, without one glint of light, only great invisible crashing. Inside the carriage, which is built on several levels, he sits in velveteen darkness, with nothing to smoke, feeling metal nearer and farther rub and connect, steam escaping in puffs, a vibration in the carriage’s frame, a poising, an uneasiness, all the others pressed in around, feeble ones, second sheep, all out of luck and time: drunks, old veterans still in shock from ordnance 20 years obsolete, hustlers in city clothes, derelicts, exhausted women with more children than it seems could belong to anyone, stacked about among the rest of the things to be carried out to salvation.
A screaming comes across the sky. It has happened before, but there is nothing to compare it to now. It is too late. The Evacuation still proceeds, but it’s all theatre. There are no lights inside the cars. No light anywhere. Above him lift girders old as an iron queen, and glass somewhere far above that would let the light of day through. But it’s night. He’s afraid of the way the glass will fall—soon—it will be a spectacle: the fall of a crystal palace. But coming down in total blackout, without one glint of light, only great invisible crashing. Inside the carriage, which is built on several levels, he sits in velveteen darkness, with nothing to smoke, feeling metal nearer and farther rub and connect, steam escaping in puffs, a vibration in the carriage’s frame, a poising, an uneasiness, all the others pressed in around, feeble ones, second sheep, all out of luck and time: drunks, old veterans still in shock from ordnance 20 years obsolete, hustlers in city clothes, derelicts, exhausted women with more children than it seems could belong to anyone, stacked about among the rest of the things to be carried out to salvation.
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Bold
GEOM 25: UI
It was the year of Our Lord one thousand seven hundred and seventy-five. Spiritual revelations were conceded to England at that favoured period, as at this. Mrs. Southcott had recently attained her five-and-twentieth blessed birthday, of whom a prophetic private in the Life Guards had heralded the sublime appearance by announcing that arrangements were made for the swallowing up of London and Westminster. Even the Cock-lane ghost had been laid only a round dozen of years, after rapping out its messages, as the spirits of this very year last past (supernaturally deficient in originality) rapped out theirs. Mere messages in the earthly order of events had lately come to the English Crown and People, from a congress of British subjects in America: which, strange to relate, have proved more important to the human race than any communications yet received through any of the chickens of the Cock-lane brood.
It was the year of Our Lord one thousand seven hundred and seventy-five. Spiritual revelations were conceded to England at that favoured period, as at this. Mrs. Southcott had recently attained her five-and-twentieth blessed birthday, of whom a prophetic private in the Life Guards had heralded the sublime appearance by announcing that arrangements were made for the swallowing up of London and Westminster. Even the Cock-lane ghost had been laid only a round dozen of years, after rapping out its messages, as the spirits of this very year last past (supernaturally deficient in originality) rapped out theirs. Mere messages in the earthly order of events had lately come to the English Crown and People, from a congress of British subjects in America: which, strange to relate, have proved more important to the human race than any communications yet received through any of the chickens of the Cock-lane brood.
Cal Sans Text
Regular
Architects, sculptors, painters—we all must return to craftsmanship! For there is no such thing as “art by profession.” There is no essential difference between the artist and the artisan. The artist is an exalted artisan. Merciful heaven, in rare moments of illumination beyond man’s will, may allow art to blossom from the works of his hand, but the foundations of proficiency are indispensable to every artist. This is the original source of creative design. So let us therefore create a new guild of craftsmen, free of the divisive class pretensions that endeavoured to raise a prideful barrier between craftsmen and artists! Let us strive for, conceive and create the new building of the future that will unite every discipline, architecture and sculpture and painting, and which will one day rise heavenwards from the million hands of craftsmen as a clear symbol of a new belief to come. The art schools of old were incapable of producing this unity—and how could they, for art may not be taught. They must return to the workshop. This world of mere drawing and painting of draughtsmen and applied artists must at long last become a world that builds.
Architects, sculptors, painters—we all must return to craftsmanship! For there is no such thing as “art by profession.” There is no essential difference between the artist and the artisan. The artist is an exalted artisan. Merciful heaven, in rare moments of illumination beyond man’s will, may allow art to blossom from the works of his hand, but the foundations of proficiency are indispensable to every artist. This is the original source of creative design. So let us therefore create a new guild of craftsmen, free of the divisive class pretensions that endeavoured to raise a prideful barrier between craftsmen and artists! Let us strive for, conceive and create the new building of the future that will unite every discipline, architecture and sculpture and painting, and which will one day rise heavenwards from the million hands of craftsmen as a clear symbol of a new belief to come. The art schools of old were incapable of producing this unity—and how could they, for art may not be taught. They must return to the workshop. This world of mere drawing and painting of draughtsmen and applied artists must at long last become a world that builds.
Cal Sans Text
Medium
When the shadow of the sash appeared on the curtains it was between seven and eight o’clock and then I was in time again, hearing the watch. It was Grandfather’s and when Father gave it to me he said, Quentin, I give you the mausoleum of all hope and desire; it’s rather excruciatingly apt that you will use it to gain the reducto absurdum of all human experience which can fit your individual needs no better than it fitted his or his father’s. I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools. It was propped against the collar box and I lay listening to it. Hearing it, that is. I don’t suppose anybody ever deliberately listens to a watch or a clock. You don’t have to. You can be oblivious to the sound for a long while, then in a second of ticking it can create in the mind unbroken the long diminishing parade of time you didn’t hear. Like Father said down the long and lonely lightrays you might see Jesus walking, like. And the good Saint Francis that said Little Sister Death, that never had a sister.
When the shadow of the sash appeared on the curtains it was between seven and eight o’clock and then I was in time again, hearing the watch. It was Grandfather’s and when Father gave it to me he said, Quentin, I give you the mausoleum of all hope and desire; it’s rather excruciatingly apt that you will use it to gain the reducto absurdum of all human experience which can fit your individual needs no better than it fitted his or his father’s. I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools. It was propped against the collar box and I lay listening to it. Hearing it, that is. I don’t suppose anybody ever deliberately listens to a watch or a clock. You don’t have to. You can be oblivious to the sound for a long while, then in a second of ticking it can create in the mind unbroken the long diminishing parade of time you didn’t hear. Like Father said down the long and lonely lightrays you might see Jesus walking, like. And the good Saint Francis that said Little Sister Death, that never had a sister.
Cal Sans Text
SemiBold
A screaming comes across the sky. It has happened before, but there is nothing to compare it to now. It is too late. The Evacuation still proceeds, but it’s all theatre. There are no lights inside the cars. No light anywhere. Above him lift girders old as an iron queen, and glass somewhere far above that would let the light of day through. But it’s night. He’s afraid of the way the glass will fall—soon—it will be a spectacle: the fall of a crystal palace. But coming down in total blackout, without one glint of light, only great invisible crashing. Inside the carriage, which is built on several levels, he sits in velveteen darkness, with nothing to smoke, feeling metal nearer and farther rub and connect, steam escaping in puffs, a vibration in the carriage’s frame, a poising, an uneasiness, all the others pressed in around, feeble ones, second sheep, all out of luck and time: drunks, old veterans still in shock from ordnance 20 years obsolete, hustlers in city clothes, derelicts, exhausted women with more children than it seems could belong to anyone, stacked about among the rest of the things to be carried out to salvation. Only the nearer faces are visible to all, and at that only as half-silvered images in a view finder, green-stained VIP faces remembered behind bulletproof windows speeding through the city
A screaming comes across the sky. It has happened before, but there is nothing to compare it to now. It is too late. The Evacuation still proceeds, but it’s all theatre. There are no lights inside the cars. No light anywhere. Above him lift girders old as an iron queen, and glass somewhere far above that would let the light of day through. But it’s night. He’s afraid of the way the glass will fall—soon—it will be a spectacle: the fall of a crystal palace. But coming down in total blackout, without one glint of light, only great invisible crashing. Inside the carriage, which is built on several levels, he sits in velveteen darkness, with nothing to smoke, feeling metal nearer and farther rub and connect, steam escaping in puffs, a vibration in the carriage’s frame, a poising, an uneasiness, all the others pressed in around, feeble ones, second sheep, all out of luck and time: drunks, old veterans still in shock from ordnance 20 years obsolete, hustlers in city clothes, derelicts, exhausted women with more children than it seems could belong to anyone, stacked about among the rest of the things to be carried out to salvation. Only the nearer faces are visible to all, and at that only as half-silvered images in a view finder, green-stained VIP faces remembered behind bulletproof windows speeding through the city
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Bold
It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way—in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only. There were a king with a large jaw and a queen with a plain face, on the throne of England; there were a king with a large jaw and a queen with a fair face, on the throne of France. In both countries it was clearer than crystal to the lords of the State preserves of loaves and fishes, that things in general were settled for ever.
It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way—in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only. There were a king with a large jaw and a queen with a plain face, on the throne of England; there were a king with a large jaw and a queen with a fair face, on the throne of France. In both countries it was clearer than crystal to the lords of the State preserves of loaves and fishes, that things in general were settled for ever.
Cal Sans Text
Regular
GEOM 100: GEO
Das Staatliche Bauhaus in Weimar int durch Vereinigung der ehemaligen Großherzoglich Sächsischen Hochschule für bildende Kunst mit der ehemaligen Großherzoglich Sächsischen Kunstgewerbeschule unter Neuangliediederung einer Abteilung für Baukunst enstanden. Das Bauhaus erstrebt die Sammlung alles künstlerischen Schaffens zur Einheit, die Wiedervereinigung aller werke künstlerischen Disziplinen — Bildhauerei, Malerei, Kunstgewerbe und Handwerk — zu einer neuen Baukunst als deren unablösliehe Bestandteile. Das letzte, wenn auch ferne Ziel des Bauhauses ist das Einheits Kunstwerk — der große Bau — in dem es keine Grenze gibt zwischen monumentaler und dekorativer Kunst. Das Staatliche Bauhaus in Weimar int durch Vereinigung der ehemaligen Großherzoglich
Das Staatliche Bauhaus in Weimar int durch Vereinigung der ehemaligen Großherzoglich Sächsischen Hochschule für bildende Kunst mit der ehemaligen Großherzoglich Sächsischen Kunstgewerbeschule unter Neuangliediederung einer Abteilung für Baukunst enstanden. Das Bauhaus erstrebt die Sammlung alles künstlerischen Schaffens zur Einheit, die Wiedervereinigung aller werke künstlerischen Disziplinen — Bildhauerei, Malerei, Kunstgewerbe und Handwerk — zu einer neuen Baukunst als deren unablösliehe Bestandteile. Das letzte, wenn auch ferne Ziel des Bauhauses ist das Einheits Kunstwerk — der große Bau — in dem es keine Grenze gibt zwischen monumentaler und dekorativer Kunst. Das Staatliche Bauhaus in Weimar int durch Vereinigung der ehemaligen Großherzoglich
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GEOM 100: GEO
When the shadow of the sash appeared on the curtains it was between seven and eight o’clock and then I was in time again, hearing the watch. It was Grandfather’s and when Father gave it to me he said, Quentin, I give you the mausoleum of all hope and desire; it’s rather excruciatingly apt that you will use it to gain the reducto absurdum of all human experience which can fit your individual needs no better than it fitted his or his father’s. I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools. It was propped against the collar box and I lay listening to it. Hearing it, that is. I don’t suppose anybody ever deliberately listens to a watch or a clock. You don’t have to. You can be oblivious to the sound for a long while, then in a second of ticking it can create in the mind unbroken the long diminishing parade of time you didn’t hear. Like Father said down the long and lonely lightrays you might see Jesus walking, like. And the good Saint Francis that said Little Sister Death, that never had a sister.
When the shadow of the sash appeared on the curtains it was between seven and eight o’clock and then I was in time again, hearing the watch. It was Grandfather’s and when Father gave it to me he said, Quentin, I give you the mausoleum of all hope and desire; it’s rather excruciatingly apt that you will use it to gain the reducto absurdum of all human experience which can fit your individual needs no better than it fitted his or his father’s. I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools. It was propped against the collar box and I lay listening to it. Hearing it, that is. I don’t suppose anybody ever deliberately listens to a watch or a clock. You don’t have to. You can be oblivious to the sound for a long while, then in a second of ticking it can create in the mind unbroken the long diminishing parade of time you didn’t hear. Like Father said down the long and lonely lightrays you might see Jesus walking, like. And the good Saint Francis that said Little Sister Death, that never had a sister.
Cal Sans Text
SemiBold
GEOM 100: GEO
Kunst entsteht oberhalb aller Methoden, sie ist an sich nicht lehrbar, wohl aber das Handwerk., Architekten, Maler, Bildhauer sind Handwerker im Ursinn des Wortes, deshalb wird als unerlaßliche Grundlage für alles bildnerische Schaffen die gründliche handwerkliche Ausbildung aller Studierenden in Werkstätten und auf Probier- und Werk-plätzen gefordert. Die eigenen Werkstätten sollen allmählich ausgebaut, mit fremden Werkstätten Lehrverträge abgeschlossen werden. Die Schule ist die Dienerin der Werkstatt, sie wird eines Tages in ihr aufgehen. Deshalb nicht Lehrer und Schüler im Bauhaus, sondern Meister, Gesellen und Lehrlinge. Kunst entsteht oberhalb aller Methoden, sie ist an sich nicht lehrbar, wohl aber das Handwerk., Architekten, Maler, Bildhauer sind
Kunst entsteht oberhalb aller Methoden, sie ist an sich nicht lehrbar, wohl aber das Handwerk., Architekten, Maler, Bildhauer sind Handwerker im Ursinn des Wortes, deshalb wird als unerlaßliche Grundlage für alles bildnerische Schaffen die gründliche handwerkliche Ausbildung aller Studierenden in Werkstätten und auf Probier- und Werk-plätzen gefordert. Die eigenen Werkstätten sollen allmählich ausgebaut, mit fremden Werkstätten Lehrverträge abgeschlossen werden. Die Schule ist die Dienerin der Werkstatt, sie wird eines Tages in ihr aufgehen. Deshalb nicht Lehrer und Schüler im Bauhaus, sondern Meister, Gesellen und Lehrlinge. Kunst entsteht oberhalb aller Methoden, sie ist an sich nicht lehrbar, wohl aber das Handwerk., Architekten, Maler, Bildhauer sind
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GEOM 100: GEO
France, less favoured on the whole as to matters spiritual than her sister of the shield and trident, rolled with exceeding smoothness down hill, making paper money and spending it. Under the guidance of her Christian pastors, she entertained herself, besides, with such humane achievements as sentencing a youth to have his hands cut off, his tongue torn out with pincers, and his body burned alive, because he had not kneeled down in the rain to do honour to a dirty procession of monks which passed within his view, at a distance of some fifty or sixty yards. It is likely enough that, rooted in the woods of France and Norway, there were growing trees, when that sufferer was put to death, already marked by the Woodman, Fate, to come down and be sawn into boards, to make a certain movable framework with a sack and a knife in it, terrible in history. It is likely enough that in the rough outhouses of some tillers of the heavy lands adjacent to Paris, there were sheltered from the weather that very day, rude carts, bespattered with rustic mire, snuffed about by pigs, and roosted in by poultry, which the Farmer, Death, had already set apart to be his tumbrils of the Revolution. But that Woodman and that Farmer, though they work unceasingly, work silently, and no one heard them as they went about with muffled tread: the rather, forasmuch as to entertain any suspicion that they were awake, was to be atheistical and traitorous.
France, less favoured on the whole as to matters spiritual than her sister of the shield and trident, rolled with exceeding smoothness down hill, making paper money and spending it. Under the guidance of her Christian pastors, she entertained herself, besides, with such humane achievements as sentencing a youth to have his hands cut off, his tongue torn out with pincers, and his body burned alive, because he had not kneeled down in the rain to do honour to a dirty procession of monks which passed within his view, at a distance of some fifty or sixty yards. It is likely enough that, rooted in the woods of France and Norway, there were growing trees, when that sufferer was put to death, already marked by the Woodman, Fate, to come down and be sawn into boards, to make a certain movable framework with a sack and a knife in it, terrible in history. It is likely enough that in the rough outhouses of some tillers of the heavy lands adjacent to Paris, there were sheltered from the weather that very day, rude carts, bespattered with rustic mire, snuffed about by pigs, and roosted in by poultry, which the Farmer, Death, had already set apart to be his tumbrils of the Revolution. But that Woodman and that Farmer, though they work unceasingly, work silently, and no one heard them as they went about with muffled tread: the rather, forasmuch as to entertain any suspicion that they were awake, was to be atheistical and traitorous.
OpenType features—stylstic sets (ssXX)
OpenType features—stylstic sets (ssXX)
Font features or variants that refer to different glyphs in the Cal Sans OpenType font. Cal Sans is special—it juggles so many alternatives that stylistic sets were necessary for both versions of each glyphs, if you were in a zone with a new alternative. Roll over or tap to see the default glyph.
OpenType features—layout
OpenType features—layout
Font features that bring designs across the finish line, that professionals memorize and rely on. Roll over to see default settings or opposite configurations.
Emoji & Symbols
⍟■□☑☒✓✗★☆✦✧♡♥✨●○◌◆◇◼▲△▶▷▼▽◀◁⭑⭒•◦▪▫▴▵▸▹▾▿◂◃
⍟■□☑☒✓✗★☆✦✧♡♥✨●○◌◆◇◼▲△▶▷▼▽◀◁⭑⭒•◦▪▫▴▵▸▹▾▿◂◃
⍟■□☑☒✓✗★☆✦✧♡♥✨●○◌◆◇◼▲△▶▷▼▽◀◁⭑⭒•◦▪▫▴▵▸▹▾▿◂◃
Arrows
↑↗→↘↓↙←↖↔↕
↑↗→↘↓↙←↖↔↕
↑↗→↘↓↙←↖↔↕
Examples
Examples
Creative Direction by Timothy Luke.
Mock brands using Cal Sans UI and Cal Sans Text by Elliott Walker.
Download Cal Sans
Download Cal Sans
Using Cal Sans is as easy as downloading & installing the font files.
Includes full glyph set and features, ttf, woff2, and variable font files. Licensed via OFL.
Install Cal Sans via NPM (Recommended)
Install Cal Sans via NPM (Recommended)
Full glyph set, variable features, and font‑feature‑settings baked into Next.js projects.
# using npm
npm install cal-sans
# using yarn
yarn add cal-sans
Adobe Fonts
Adobe Fonts
Help bring Cal Sans to Adobe Fonts
The best for Creative Cloud workflows. Activate once, use across every Adobe app, and your desktop. Full glyph set, synced automatically. Open source license fonts can be added to the library at no cost to Adobe if enough people request it.
Google Fonts
Google Fonts
Hosting via Google Fonts is coming soon
Hosting via Google Fonts is coming soon
Subset character set and core OpenType features, ttf, woff2, and variable font files. Licensed via OFL.