GT Canon

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Subfamilies
  • Standard S Light
    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 Light
    With this comes an epistemic shift: Drawing and model are interrelated, like hands touching each other. Each hand both touches and is touched, with their roles constantly shifting. And so drawing is not merely a representation of the model, and the model is not merely the origin of the drawing.
  • Standard L Light
    An instance can be a subsequently submitted determination of a limited point in time. In most cases, however, it marks the section of a defined sequence.
  • 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
    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 L Light Italic
    Instances correspond emphatically to design. Although the use of the term *instance *has become increasingly common in recent years, with specific uses in various disciplines, the underlying logic seems to have permeated the concept of design in an almost intrinsic way long before that.
  • Standard S Regular
    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 M Regular
    But I can inform myself. I can learn about the environment and people I create for. Their past and present. Their needs and desires. We are not what we design and it would be foolish to believe that we know our so called target group as well as we know our flatmates.
  • Standard L Regular
    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 S Regular Italic
    Design is always an act of presumption. I do not design from the position that I am entitled to. I am not a chair. Horses have never painted humans on a wall. It is a common misconception that the means of design must reflect—or even find their equivalent in—the social and biographical conditions of their production.
  • Standard M Regular Italic
    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 Regular Italic
    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 Medium
    Cutting into stone, writing swiftly by hand, pushing nodes on a graphical user interface: Motion is one of the driving forces in typography and a guiding principle between handwriting and type design.
  • Standard M Medium
    How does a bold relate to its regular? How does balance persist across axes? Balance champions accuracy over precision. It is about what we see, not what we measure. And the eye likes balance, not boredom. Balance is invitation.
  • Standard L Medium
    As in thought: a phrase balanced on its referent, meaning slipping just out of reach, suspended between the known and the not-yet. Balance is the architecture of instability—made durable through time. Balance is not a matter of equality but of energy.
  • Standard S Medium Italic
    A typeface, an interface, the face of a building—all these indicate how we can make things present: face is a principle, the visible form through which some becomes a thing. The face is the plane that mediates between structure and encounter.
  • Standard M Medium Italic
    It emerges through attention and waiver. Balance is not the absence of friction, but its distribution. Balance follows form, forms form, follows content, content which is shaping form, form flowing into form, unintentionally intentional.
  • Standard L Medium Italic
    Quoting is a genuinely creative practice. Something has always been there before. We create in its stead and carry it forward. On quiet soles we walk, torchbearers with the blowpipe tucked behind the ear, moving through the forest in search of our prey.
  • Standard S Semibold
    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
    The scene is laid in the house of Cephalus at the Piraeus; and the whole dialogue is narrated by Socrates the day after it actually took place to Timaeus, Hermocrates, Critias, and a nameless person, who are introduced in the Timaeus.
  • Standard L Semibold
    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 S Semibold Italic
    A weight here presupposes a counter there, even if that counter is nothing but the absence of its here with reversed signs. Balance does not eliminate difference; it activates it, arranges it, gives it place.
  • Standard M Semibold Italic
    It is too simplistic to equate the broadening of the denominator with an expansion of the numerator. Yet, there lies a sever misconception and danger in this term. Not so much because the dividing lines between users and manufacturers are supposedly becoming increasingly blurred in the rapidly changing digital landscape, but rather because of an ontological misconception in believing that the acting subject knows not just the rational and motives behind it’s actions, but also knows itself, and considers the urge of knowing itself as a invisible but leading design principle.
  • Standard L Semibold Italic
    The scene is laid in the house of Cephalus at the Piraeus; and the whole dialogue is narrated by Socrates the day after it actually took place to Timaeus, Hermocrates, Critias, and a nameless person, who are introduced in the Timaeus.
  • Standard S Bold
    To justify is to align. Be it aligning things or arguments, be it the alignment of an action and its actor with their surroundings and the forces that shape them. Who justifies, aims to shift the object of his or her justification, either in relation to its circumstances or to the object itself.
  • Standard M Bold
    Tension as a whole does not arise from the unrestrained or untamed wildness of individual elements. On the contrary, it is the right balance of unity and discipline on the one hand, and deviation on the other. In political and social contexts, the dissolution of tension is a noble and worthy pursuit. In design, it all too often leads to illegibility. This applies in both directions. After all, what is attraction, what is eroticism? The casual display of the fully revealed whole, or the play of gradually unveiling its parts? No tension, no relation.
  • Standard L Bold
    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 Bold 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 M Bold Italic
    Cutting into stone, writing swiftly by hand, pushing nodes on a graphical user interface: Motion is one of the driving forces in typography and a guiding principle between handwriting and type design.
  • Standard L Bold 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 Heavy
    Balance resides in contrast: between forms, weights, tones, tensions. It is noticed before it is seen, known before it is measured. A poster calming your eye without quieting it, a painting’s tension resolves in stillness. Balance is never imposed.
  • Standard M Heavy
    An instance is a moment made material. It is the singular occurrence of a state that could have been otherwise. By virtue of this contingency, an instance is in turn also moment-creating: an instance is not only the capturing of time (including processes and patterns) or space (including organisational and hierarchical positions), but also their trigger.
  • Standard L Heavy
    It emerges through attention and waiver. Balance is not the absence of friction, but its distribution. Balance follows form, forms form, follows content, content which is shaping form, form flowing into form, unintentionally intentional.
  • Standard S Heavy Italic
    It is too simplistic to equate the broadening of the denominator with an expansion of the numerator. Yet, there lies a sever misconception and danger in this term. Not so much because the dividing lines between users and manufacturers are supposedly becoming increasingly blurred in the rapidly changing digital landscape, but rather because of an ontological misconception in believing that the acting subject knows not just the rational and motives behind it’s actions, but also knows itself, and considers the urge of knowing itself as a invisible but leading design principle.
  • Standard M 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 L Heavy Italic
    Whether we view design as ‘creating with existing means’ or not, upon closer inspection, design has always been about constantly arranging things, and not just since the advent of computers. The ongoing alignment of shapes, images, letters with one another and within their surface.
  • Standard S Black
    One of the most important factors in keeping the feet on sucklings, weanlings and yearlings in proper condition as is specified in this article is to see that you are keeping the leg in the middle of the foot, otherwise many a good horse suffers, as the concussion and strain is not equally distributed on both sides of the foot when in action.
  • Standard M Black
    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 L Black
    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 Black Italic
    Broadly speaking, anatomy refers to the internal architecture of organisms, i.e. how bones, muscles, vessels, nerves and organs are arranged and how they relate to each other to form a functional whole.
  • Standard M Black 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 L Black Italic
    The subject possesses and orders; the object obeys and performs. More powerful still is the one who no longer needs to command at all, the one to whom others obey pre-emptively and unreservedly. Yet even this preventive, often invisible power still relies on a distinction between subject and object.
  • Settings
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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.

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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.
GT Canon in use