GT Canon

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Family overview
  • Condensed
  • S Light Italic
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  • Standard
  • S Light Italic
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  • M Regular Italic
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  • M Medium Italic
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Subfamilies
  • Standard S Light
    Depends on a ruler who can be deceived, attacked, and overthrown. Higher power unfolds beyond that. Smart, gentle, even “positive” power operates through consent, self-optimisation, and internalisation, not through prohibition or force.
  • Standard M Light
    Scaling therefore entails rounding operations and antialiasing strategies that alter the appearance of shapes, particularly at small sizes where a single pixel represents a significant portion of form. Software environments introduce further divergence, using distinct coordinate systems, unit definitions, and conversion routines.
  • Standard L Light
    There are many differences between texts and images, but one in particular is often emphasised: while images can be grasped in an instant, the meaning of a text can only be understood once all of the words have been registered.
  • Standard S Light Italic
    If my limited knowledge of physics, gained from school lessons long time ago, has enabled me to understand the theorists of general relativity correctly, the motion of our planets around the sun is only apparently circular, but rather a kind of straight line.
  • Standard M Light Italic
    Balance is not symmetry. It is the tension between collapse and coherence. Therefore, it is the opposite of stillness. To speak of balance is to invoke the condition of something being held and not to be fixed. No conclusion but an ongoing relation.
  • Standard L Light Italic
    And yet, justification can mean a speech act of rare agency, inhabited with a groundless sorrow over the circumstances that necessitate it. Things should have been the other way around. From the start.
  • Standard S Regular
    Only that is limited can invite, can expand and intrude, or be intruded upon. No boundaries, nothing to transcend? At least nowhere to stay. Wandering does not leave any traces as long as it keeps up with the wandering of time.
  • Standard M Regular
    Dorothy lived in the midst of the great Kansas prairies, with Uncle Henry, who was a farmer, and Aunt Em, who was the farmer’s wife. Their house was small, for the lumber to build it had to be carried by wagon many miles.
  • Standard L Regular
    Display denotes a style made for large sizes: headlines, titles, posters. Display styles often stress features: thinner hairlines, sharper serifs, higher contrast, narrower spacing. They prioritise impact over long, continuous readability.
  • Standard S Regular Italic
    On a page, balance occurs across the line: x-height against ascender height, text weight against leading, headline mass against white space. In multi-weight families, balance becomes structural.
  • Standard M Regular Italic
    There is something in the foot of the horse that has been a mystery to many who have been unable to find out the secrets by reading some of the books that have been printed on the different subjects, and experimenting on the same, pertaining to a perfect balance of the trotter and pacer when in action.
  • Standard L Regular Italic
    There are countless forms and shades of power. We intuitively associate power with a powerful person, with someone who can impose their will on others. They make themselves the subject and degrade everyone else to their objects.
  • Standard S Medium
    Only that is limited can invite, can expand and intrude, or be intruded upon. No boundaries, nothing to transcend? At least nowhere to stay. Wandering does not leave any traces as long as it keeps up with the wandering of time.
  • Standard M Medium
    Scaling therefore entails rounding operations and antialiasing strategies that alter the appearance of shapes, particularly at small sizes where a single pixel represents a significant portion of form. Software environments introduce further divergence, using distinct coordinate systems, unit definitions, and conversion routines.
  • Standard L Medium
    The original or merely a template? Traces? And who is to say that our sense of things, our emotions and feelings, are nothing but an unwitting attempt to quote the stories and songs that have moved us?
  • Standard S Medium Italic
    On the other hand, tools and designs are tailored to the user to such an extent that they do not even need to be used, as every possible action is anticipated, thus becoming literally useless, and the user, around whom everything revolved, has been relieved of their usage. Free, weight-, timeless and a fence observer. Rather than being oppressed by tradition and forced to master the tool as it has been forged over hundreds of years of craft.
  • Standard M Medium Italic
    Edges mark the threshold of meaning, the moment when sense meets its outside of the inside of the outside of the sentence. And therefore all is exterior.
  • Standard L Medium Italic
    We meet in blurriness. If we understood each other completely, we would be identical and weightless, dissolving into pure oneness. Until that happens, however, recognising our differences and contrasts helps us to come closer together.
  • Standard S Semibold
    Balance is the tension needed to neither explode or implode. What arises when intention meets the accidental and neither is abolished. In bodies, in breaths, in the temporality and modalities of being, balance appears as that which is always about to shift.
  • Standard M Semibold
    And yet, justification can mean a speech act of rare agency, inhabited with a groundless sorrow over the circumstances that necessitate it. Things should have been the other way around. From the start.
  • Standard L Semibold
    And it is only the sequence of several nodes that determines the appearance. But especially in the visual realm, they lead a dubious existence. On the one hand, they are image-forming in vector image production, making it possible to create contours and surfaces in the first place; on the other hand, they ultimately recede behind the given image.
  • Standard S Semibold Italic
    What are we but areas that move between areas, perceiving areas, dividing areas, with the help of areas, into more areas? Lines, on the other hand, lead a ghostly existence: in their terrible conspicuousness, they are omnipresent and yet we cannot perceive them.
  • Standard M Semibold Italic
    Now, who’s afraid of quotation marks? Straight marks, curly marks, make it single, make it double, mille milliards de guillemets mal embobinés ! German use (Anführungszeichen senken sich wie ein Grundruf in den Text, ein erstes Öffnen, in dem das Wort aus seiner Verborgenheit hervortritt, während ihr abschließendes Heben zurückweist in die Lichtung des Denkens, wo das Gesagte erst als solches zu zu stehen beginnt.)
  • Standard L Semibold Italic
    There is something in the foot of the horse that has been a mystery to many who have been unable to find out the secrets by reading some of the books that have been printed on the different subjects, and experimenting on the same, pertaining to a perfect balance of the trotter and pacer when in action.
  • Standard S Bold
    Anatomy is the gesture of dividing the visible to seek what cannot be seen. Anatomy is the scientific study of the structure of living organisms.
  • Standard M Bold
    We live in the age of scale. In economic ventures, scalability has long been the guiding principle on which new enterprises are founded; whoever masters the challenges of scaling is promised success. More interesting, however, are the observations that can be made across disciplines whenever something is scaled.
  • Standard L Bold
    Who is the user of a typeface? The graphic designer, typographer and reader? Or is it equally down to its designer? UX-driven objectives still play a major role in type design, which is being framed in terms of legibility, usability, screen optimisation, hinting, or responsive typography.
  • Standard S Bold Italic
    He looked out the window at the Hudson River, ruddied in the flame of the dying sun, and wondered moodily whether these last experiments would finally bring him the fame and success he was after, or if they were merely some more false alarms.
  • Standard M Bold Italic
    In the one the principles are palpable, but removed from ordinary use; so that for want of habit it is difficult to turn one's mind in that direction: but if one turns it thither ever so little, one sees the principles fully, and one must have a quite inaccurate mind who reasons wrongly from principles so plain that it is almost impossible they should escape notice.
  • Standard L Bold Italic
    No matter if we geometrise gravity or not, it begins with attraction, not with weight. The body is never free from the fall. We are always in relation to a center we cannot see.
  • Standard S Heavy
    Dorothy lived in the midst of the great Kansas prairies, with Uncle Henry, who was a farmer, and Aunt Em, who was the farmer’s wife. Their house was small, for the lumber to build it had to be carried by wagon many miles.
  • Standard M Heavy
    We stand on a field and throw a stone. We follow the motion of the stone. How can we be sure that it is the stone that is moving and not the surroundings? A well-known phenomenologist devoted a handful of densely written pages to investigating this process and championed a view that describes movement as a coherent, holistic activity that cannot be adequately described by either a mechanical or a philosophical view of consciousness.
  • Standard L Heavy
    Both arise in a mutual interplay. Although drawing has never been just a medium of representation, but always also one of operation, one that forces the model into a certain order (line, proportion, grid, materiality), the introduction of nodes has given this reciprocal relationship a significant influence on authorship, insofar as it shifts slightly ‘in favour’ of the model: digital drawing can no longer not be a model, and from now on, the designer can no longer purely be a drawer but is always also a model-builder. Nodes allow form to be computed.
  • Standard S Heavy Italic
    Anatomy is the gesture of dividing the visible to seek what cannot be seen. Anatomy is the scientific study of the structure of living organisms.
  • Standard M Heavy Italic
    Layouts can be balanced or not, regardless of whether they are symmetrical or asymmetrical. A sculpture can teeter and still rest. Our task is not to enforce equilibrium, but to find the point where the space begins to breathe.
  • Standard L Heavy Italic
    No doubt the feat was easy to Mr. Utterson; for he was undemonstrative at the best, and even his friendship seemed to be founded in a similar catholicity of good-nature. It is the mark of a modest man to accept his friendly circle ready-made from the hands of opportunity; and that was the lawyer’s way.
  • Standard S Black
    Although we could describe text, in contrast to images, as a medium of lines (and here the line becomes a demarcation line on all significative levels), it is images—or more precisely, the pictorial nature of the visual—that, alongside the virtual, mathematical construct, allows for manifestation of lines in the first place.
  • Standard M Black
    An edge is both an end and a beginning. It is a marker in both senses: An edge causes the change, just as it indicates it. So far, so mundane. Nevertheless, the consequences are significant. Only that which is limited can be surpassed.
  • Standard L Black
    There are many differences between texts and images, but one in particular is often emphasised: while images can be grasped in an instant, the meaning of a text can only be understood once all of the words have been registered.
  • Standard S Black Italic
    Who is the user of a typeface? The graphic designer, typographer and reader? Or is it equally down to its designer? UX-driven objectives still play a major role in type design, which is being framed in terms of legibility, usability, screen optimisation, hinting, or responsive typography.
  • Standard M Black Italic
    Nodes mark the transition into the technical age by how they turn form into data. Designers and engineers already thought in terms of measurements, geometry, and even coordinate-like reasoning long before the use of computers.
  • Standard L Black Italic
    Walter Sills labored for years as an unknown laboratory worker—but at fifty he makes his great discovery! Fame, riches are to be his fate—until interference looms up in the form of a few unreliable characters—and Nature herself!
  • Settings
    Size
Typeface information

GT Canon’s design is pragmatic but not static: movement and liveliness are embedded in the letterforms. It is our answer to what our digital times require of a serif today. It’s what a contemporary serif should be in both form and function. Like its sans serif sibling, GT Standard, it aims for modern functionality rather than stylistic reinvention.

Download Specimen PDF

Latin-alphabet languages: Afaan, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Asturian, Atayal, Aymara, Azerbaijani, Basque, Belarusian, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Croatian, Czech, Danish, Dawan, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean Creole, Gwich’in, Haitian Creole, Hawaiian, Hiligaynon, Hopi, Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Irish, Istro-Romanian, Italian, Jamaican, Javanese, Jèrriais, Kaingang, Kala Lagaw Ya, Kapampangan, Kaqchikel, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Kurdish, Ladin, Latin, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Nahuatl, Ndebele, Neapolitan, Niuean, Noongar, Norwegian, Occitan, Old Icelandic, Old Norse, Oshiwambo, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Q’eqchi’, Quechua, Rarotongan, Romanian,Romansh, Rotokas, Inari Sami, Lule Sami, Northern Sami, Southern Sami, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Upper and Lower Sorbian, Northern and Southern Sotho, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Tuvaluan, Tzotzil, Venetian, Vepsian, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zarma, Zazaki, Zulu, Zuni

Typeface features

OpenType features enable smart typography. You can use these features in most Desktop applications, on the web, and in your mobile apps. Each typeface contains different features. Below are the most important features included in GT Canon’s fonts:

  • TNUM
  • Tabular figures
0123456789
  • ONUM
  • Oldstyle figures
0123456789
  • SMCP
  • Small Caps
Anatomy
Typeface Minisite
  • Visit the GT Canon minisite to discover more about the typeface family’s history and design concept.