Two families, two jobs, no substitutes. On the web they lean on Gellix 400 · 600 · 700 and Plex Mono 400 · 500; other media reach for the weights the moment needs.
Geometric warmth with a straight spine. Gellix carries everything the brand says out loud, from the display moment to the paragraph under it.
The system’s handwriting: precise, technical, quietly confident. Mono marks the machinery, so the reader always knows what is interface and what is voice.
Licensed fonts are not always there: email clients, embedded surfaces, slow connections. Each stack names a stand-in that holds the layout until the real face arrives. Outfit is a geometric sans on Google Fonts with x-height and proportions close to Gellix; Plex Mono ships from Google Fonts, so the generic monospace stack is enough.
Five roles cover every layout, in every medium. The relationships are the spec: display sits five to six times body, and the middles stay empty. Exact sizes live in the implementations.
The loudest thing on the page. One per view, always two-tone, always closed by the dot.
A full thought given room: the card and band voice. Clay sets up, cream pays off.
Titles that carry the argument. Short, declarative, never explanatory.
The working text. Settles near sixty characters a line; never runs edge to edge.
Body copy does the quiet work: it explains, qualifies, and connects. It holds a comfortable measure, a relaxed leading, and never competes with the display above it.
The mono layer: eyebrows, numbers, captions, buttons. Always uppercase, always tracked.
Three moves make Salesloft type recognizable at a glance. They are the brand’s handwriting: use them deliberately, and never more than one headline needs.
Display lines open muted and land in cream: the eye goes straight to the payoff. Split at the line break, never mid-phrase.
Green punctuates. It closes display lines and titles, and it never colors a word: the signal marks the end of the ask, not the middle.
Clay lowers the setup so the payoff reads louder. Use it when a statement needs a before and an after.
Plex Mono is a marker, not a voice. It tells the reader “this is the system speaking”: navigation, classification, measurement. The moment it narrates, it stops working.
The scale does the composing. Contrast makes hierarchy; increments only make noise.
The fastest way to break the voice is to decorate it. If a treatment needs explaining, it doesn’t ship.
The chapter owns the roles; the implementations own the numbers. Web sizes live in the site css, product styles live in the DS Foundations.
| the voice | --sans | Gellix · variable 100–900 · web leans on 400 / 600 / 700 |
| the instrument | --mono | IBM Plex Mono · 400 / 500 · uppercase + tracking at label sizes |
| label style | Label/M · Figma | Mono 500 · 13 · uppercase · buttons & system labels |
| numerals | font-variant-numeric | tabular-nums for stats, counters & timelines |
| the dot | .dot · green/500 | closes display lines & titles · see 03 · Color |
| sizes & ramps | site css · DS Foundations | pixel values live where they ship, not in this chapter |