Source Sans Pro
Extra Light
Italic
200
Light
Italic
300
Regular
Italic
400
Medium
Italic
500
Semi Bold
Italic
600
Bold
Italic
700
Extra Bold
Italic
800
Black
Italic
900
Characters
When Adobe published Source Sans Pro in 2012, it marked a quiet watershed in modern type history: the digital era’s preeminent foundry casting its very first open-source gift into the commons. Drawn by Paul D. Hunt, the family was drafted not as an avant-garde manifesto or an eccentric display piece, but as a transparent, untiring conduit for user interfaces and continuous prose. Hunt looked neither to the clinical geometry of the German Bauhaus nor to the severe neutrality of the mid-century Swiss neo-grotesque. Instead, he grounded his sketches in the honest, early-twentieth-century American gothic tradition of Morris Fuller Benton—most notably News Gothic and Franklin Gothic—infusing that plainspoken commercial stock with an agile, humanist warmth.
The anatomy of Source Sans Pro reveals a quiet devotion to optical clarity and the physical realities of the screen. Its x-height is generously scaled without turning clumsy, while its apertures remain wide and hospitable, inviting light into the interior chambers of the glyphs to stave off the clotted darkness that plagues narrower gothics. Hunt preserved the classical cadence of the double-storey a and g, while subtly curving the foot of the lowercase l to disentangle it from the capital I—a civilizing courtesy essential across dense technical captions, code fragments, and digital interfaces. Along the measure, the typeface assembles into an uncommonly serene, even-textured grey, resisting the nervous jitter of over-designed details to let the author’s voice carry the page.
Typographically, the family is furnished with true, lively italics whose cursive ductus and angled terminations offer genuine dialogic contrast against the upright roman, refusing the lazy shortcut of a mechanically skewed oblique. Expanding across six deliberate weights—and later blossoming into a responsive variable architecture alongside sister cuts in serif and monospace—Source Sans Pro established a benchmark for what an open-source corporate release could achieve. In a digital landscape often tempted by passing aesthetic novelties, it endures as a paragon of typographic reticence: an alphabet whose highest virtue is its willingness to step aside and shepherd the reader through thought with invisible grace.
Words
Questography
difficult waffles
Havana Plywood
Château d’Yquem
Högertrafikomläggningen
hamburgevontpids
Headlines
Extra Light · 200
Brawny gods just flocked up to quiz and vex him
Extra Light Italic · 200
Brawny gods just flocked up to quiz and vex him
Extra Light Small Caps · 200
Brawny gods just flocked up to quiz and vex him
Light · 300
Amazingly few discotheques provide jukeboxes
Light Italic · 300
Amazingly few discotheques provide jukeboxes
Light Small Caps · 300
Amazingly few discotheques provide jukeboxes
Regular · 400
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
Regular Italic · 400
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
Regular Small Caps · 400
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
Medium · 500
Grumpy wizards make a toxic brew for the jovial queen
Medium Italic · 500
Grumpy wizards make a toxic brew for the jovial queen
Medium Small Caps · 500
Grumpy wizards make a toxic brew for the jovial queen
Semi Bold · 600
Jackie will budget for the most expensive zoology equipment
Semi Bold Italic · 600
Jackie will budget for the most expensive zoology equipment
Semi Bold Small Caps · 600
Jackie will budget for the most expensive zoology equipment
Bold · 700
Monsieur Jack, vous dactylographiez bien mieux que votre ami Wolf
Bold Italic · 700
Monsieur Jack, vous dactylographiez bien mieux que votre ami Wolf
Bold Small Caps · 700
Monsieur Jack, vous dactylographiez bien mieux que votre ami Wolf
Extra Bold · 800
Jeg begynte å fortære en sandwich mens jeg kjørte taxi på vei til quiz
Extra Bold Italic · 800
Jeg begynte å fortære en sandwich mens jeg kjørte taxi på vei til quiz
Extra Bold Small Caps · 800
Jeg begynte å fortære en sandwich mens jeg kjørte taxi på vei til quiz
Black · 900
Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich
Black Italic · 900
Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich
Black Small Caps · 900
Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich
Paragraphs
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
Standard Ligatures
font-feature-settings: 'liga';
Figures
1234567890
Tabular Lining (default)
1234567890
Tabular Oldstyle: 'onum'
1234567890
Proportional Oldstyle: 'onum', 'pnum'
1/2 3/4
Fractions: 'frac'
0
Slashed Zero: 'zero'
H123
Numerators: 'numr'
H123
Denominators: 'dnom'
H123
Subscripts: 'subs'
H123
Scientific Inferiors: 'sinf'
H123
Superscripts: 'sups'
Ordinals
font-feature-settings: 'ordn';
Stylistic Sets
font-feature-settings: 'ss--';
'ss01'
'ss02'
'ss05'
'ss06'
'ss09'
'ss10'
Case Sensitive Forms
font-feature-settings: 'case';
Loading glyphs…
- Glyph name
- Not available
- Unicode
- Not encoded
- HTML code
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