GT Canon

Jump to

Family overviewEditable samplesTypeface information
Family overview
  • Condensed
  • S Light Italic
  • M Light Italic
  • L Light Italic
  • S Regular Italic
  • M Regular Italic
  • L Regular Italic
  • S Medium Italic
  • M Medium Italic
  • L Medium Italic
  • S Semibold Italic
  • M Semibold Italic
  • L Semibold Italic
  • S Bold Italic
  • M Bold Italic
  • L Bold Italic
  • S Heavy Italic
  • M Heavy Italic
  • L Heavy Italic
  • S Black Italic
  • M Black Italic
  • L Black Italic
  • Narrow
  • S Light Italic
  • M Light Italic
  • L Light Italic
  • S Regular Italic
  • M Regular Italic
  • L Regular Italic
  • S Medium Italic
  • M Medium Italic
  • L Medium Italic
  • S Semibold Italic
  • M Semibold Italic
  • L Semibold Italic
  • S Bold Italic
  • M Bold Italic
  • L Bold Italic
  • S Heavy Italic
  • M Heavy Italic
  • L Heavy Italic
  • S Black Italic
  • M Black Italic
  • L Black Italic
  • Standard
  • S Light Italic
  • M Light Italic
  • L Light Italic
  • S Regular Italic
  • M Regular Italic
  • L Regular Italic
  • S Medium Italic
  • M Medium Italic
  • L Medium Italic
  • S Semibold Italic
  • M Semibold Italic
  • L Semibold Italic
  • S Bold Italic
  • M Bold Italic
  • L Bold Italic
  • S Heavy Italic
  • M Heavy Italic
  • L Heavy Italic
  • S Black Italic
  • M Black Italic
  • L Black Italic
  • Extended
  • S Light Italic
  • M Light Italic
  • L Light Italic
  • S Regular Italic
  • M Regular Italic
  • L Regular Italic
  • S Medium Italic
  • M Medium Italic
  • L Medium Italic
  • S Semibold Italic
  • M Semibold Italic
  • L Semibold Italic
  • S Bold Italic
  • M Bold Italic
  • L Bold Italic
  • S Heavy Italic
  • M Heavy Italic
  • L Heavy Italic
  • S Black Italic
  • M Black Italic
  • L Black Italic
  • Expanded
  • S Light Italic
  • M Light Italic
  • L Light Italic
  • S Regular Italic
  • M Regular Italic
  • L Regular Italic
  • S Medium Italic
  • M Medium Italic
  • L Medium Italic
  • S Semibold Italic
  • M Semibold Italic
  • L Semibold Italic
  • S Bold Italic
  • M Bold Italic
  • L Bold Italic
  • S Heavy Italic
  • M Heavy Italic
  • L Heavy Italic
  • S Black Italic
  • M Black Italic
  • L Black Italic
  • Mono
  • Light Italic
  • Regular Italic
  • Medium Italic
  • Semibold Italic
  • Bold Italic
  • Heavy Italic
  • Black Italic
Subfamilies
  • Standard S Light
    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 M Light
    So let us think of designers as those who constantly operate on the edge—whether with and on forms of recognition, or by allowing in the different, which fills the constantly repeating cascade of differences (from sensuality to imagination, from imagination to memory, from memory to forgetting, and finally to creative power (and then the whole thing starts all over again)).
  • Standard L Light
    The reason, therefore, that some intuitive minds are not mathematical is that they cannot at all turn their attention to the principles of mathematics. But the reason that mathematicians are not intuitive is that they do not see what is before them, and that, accustomed to the exact and plain principles of mathematics, and not reasoning till they have well inspected and arranged their principles, they are lost in matters of intuition where the principles do not allow of such arrangement.
  • Standard S Light 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 M Light Italic
    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 L Light Italic
    Contrast is difference made visible, the consequence and prerequisite of an appearance. Without contrast, there is no difference. Everything is not just monotonous, it simply is not. It is one and therefore isn’t. Contrast is the distance and proximity of the in-between. What is, is through difference.
  • Standard S Regular
    Accordingly, texts are often described as linear, even though, in most cases, this linearity is erratic or even fractal (with eye movements consisting of saccades). Any attempts to escape this linearity usually result in the lines becoming fragmented into more lines, except in the case of one-word readers, where the reading movement is directed towards a single word.
  • Standard M Regular
    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 L Regular
    A face is presence. It looks back, even when it does not see. The face is exposure, vulnerability, recognition: it is how we appear to others, how we are held in relation. It is therefore always recognition and exemplification. Individual and collective.
  • Standard S Regular Italic
    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 M Regular Italic
    Considering that the little party had been seated round the tea-table for less than twenty minutes, the animation observable on their faces, and the amount of sound they were producing collectively, were very creditable to the hostess.
  • Standard L Regular Italic
    The reason, therefore, that some intuitive minds are not mathematical is that they cannot at all turn their attention to the principles of mathematics. But the reason that mathematicians are not intuitive is that they do not see what is before them, and that, accustomed to the exact and plain principles of mathematics, and not reasoning till they have well inspected and arranged their principles, they are lost in matters of intuition where the principles do not allow of such arrangement.
  • Standard S Medium
    You will rejoice to hear that no disaster has accompanied the commencement of an enterprise which you have regarded with such evil forebodings. I arrived here yesterday; and my first task is to assure my dear sister of my welfare.
  • Standard M Medium
    Compositional spaces or their amplifiers, such as grids, can also be seen as registers of response. To the questions the design willingly or unwillingly might need to respond to. And in this respect, too, the artboard extends far beyond the immediate surface into the problem definition, the historical and social context, the budget and time constraints, taste, and all other design premises or sudden contingencies.
  • Standard L Medium
    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 S Medium Italic
    Moving a vector between applications can result in measurable shifts caused by floating-point limitations and incompatible Bézier implementations. In typography, the discrepancy is heightened: glyph outlines include instructions (hinting) that govern their behaviour at specific sizes, which are lost when text is converted to outlines. Thus, even in fields predicated on precision, scale introduces qualitative change not as an exception but as a structural condition.
  • Standard M Medium 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 L Medium Italic
    Whatever is scaled inevitably changes. The morphology of insects versus that of humans. The differing stability of small and large load-bearing structures in architecture. The behaviour of algorithms that perform well on small datasets yet falter when applied to billions of inputs.
  • Standard S Semibold
    Whatever is scaled inevitably changes. The morphology of insects versus that of humans. The differing stability of small and large load-bearing structures in architecture. The behaviour of algorithms that perform well on small datasets yet falter when applied to billions of inputs.
  • Standard M Semibold
    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 Semibold
    It does not matter what note you play. What only matters is which note follows, a legendary trumpet player once said (in a pretty different way, but that is how I remember the quote).
  • Standard S Semibold Italic
    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 Semibold Italic
    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 L Semibold 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.
  • Standard S Bold
    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 M Bold
    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 L 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 S Bold 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 Bold Italic
    Mathematically this is correct; the computational model of points, curves, and transformations retains its internal precision at any size. Yet, in practice, vectors are always realised within systems that impose discrete constraints. Every display, printer, and imaging device ultimately renders to a raster.
  • Standard L Bold Italic
    One of the great challenges in typography awaits both the typesetter and the type designer in the same place, and it concerns writers no less. It is not only the not-so-well-tempered poster that requires the right use of tension. It is especially the longer texts whose harmony and carrying power can be sustained only by maintaining tension.
  • Standard S Heavy
    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 Heavy
    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 Heavy
    Mathematically this is correct; the computational model of points, curves, and transformations retains its internal precision at any size. Yet, in practice, vectors are always realised within systems that impose discrete constraints. Every display, printer, and imaging device ultimately renders to a raster.
  • Standard S Heavy Italic
    The reason, therefore, that some intuitive minds are not mathematical is that they cannot at all turn their attention to the principles of mathematics. But the reason that mathematicians are not intuitive is that they do not see what is before them, and that, accustomed to the exact and plain principles of mathematics, and not reasoning till they have well inspected and arranged their principles, they are lost in matters of intuition where the principles do not allow of such arrangement.
  • Standard M Heavy Italic
    You will rejoice to hear that no disaster has accompanied the commencement of an enterprise which you have regarded with such evil forebodings. I arrived here yesterday; and my first task is to assure my dear sister of my welfare.
  • Standard L Heavy 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 S Black
    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 M Black
    Justification is a responsive act, regardless of whether what is to be justified lies in the past or in the future, as any justification presupposes something that has gone before. If that something points forwards, its intention is at least roughly outlined (by virtue of its potential to be realised).
  • Standard L Black
    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 S Black Italic
    A face embodies character: the severity of a brutalist façade, the lightness of thin display cut, the friendliness of rounded terminals. The face is also about recognition: we know a style by its face, we choose an object because of the impression it projects.
  • Standard M Black Italic
    In recent years, few terms in design have enjoyed such a meteoric rise as the two letters U and X. User experience quickly became the measure of all things. At first glance, there seems to be little wrong with that. Anyone who strives to offer users the best possible experience does not have to be a showman or a charlatan who turns even the simplest interaction into an experience.
  • Standard L Black 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.
  • 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.