GT Canon
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
- Mono
- Light Italic
- Regular Italic
- Medium Italic
- Semibold Italic
- Bold Italic
- Heavy Italic
- Black Italic
Subfamilies
- Standard S LightAn 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 M LightWalter 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!
- Standard L LightIn 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 S Light ItalicConsidering 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 M Light ItalicThere 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 L Light ItalicWhatever 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 RegularTools supporting interaction design. At the same time, we can observe a trend towards reduced interaction surfaces. Users increasingly ask than navigate. Which increasingly reduces the area of contact.
- Standard M RegularWe 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 RegularScaling 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 Regular ItalicLayouts 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 M Regular ItalicInstances 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 L Regular ItalicBroadly 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 S MediumYou 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 MediumSince design means composing contrasts, creating tension can be a consequence. It’s not inevitable though. Contrast is no guarantee that tension will emerge. Quite the opposite. Tension is a rare commodity. Too much,and it dissipates. Often, the sweet spot lies in drawing the bow just far enough that it does not break.
- Standard L MediumCompositional 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 S Medium ItalicIf one geometrises gravity—which is said to be at the heart of the relativisation of space and time—it is the most direct possible movement of these bodies around the sun. Like the apple that falls from Newton’s tree, gravity does not distract it from its actual ideal—to float strangely and ghostly in the air or on the tree?
- Standard M Medium ItalicA 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 L Medium ItalicThere 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 SemiboldJustification 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 M SemiboldLetterforms were constructed, architectural drawings relied on projection, mechanical parts were dimensioned with astonishing precision. But as these constructions were “analogue”, they remained continuous. Enter the node: Forms are now discrete, shapes are a list of coordinates and continuity is produced by computational smoothing.
- Standard L SemiboldWhat are the consequences? On the one hand, the design of the self. The device-ification of our bodies does not begin with chip implants, artificial intelligence and the semi-automation of intellectual work, but earlier and more decisively through this very intertwining of design and the various modes of supposed self-discovery.
- Standard S Semibold ItalicA 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 ItalicDepends 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 L Semibold ItalicDorothy 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 S BoldThis circumstance informs all aspects of the typeface design, from the architecture of the letters and the design of individual forms and components, to optical corrections (overshoot). Gravity manifests in stroke and proportion. The thickening of verticals, the grounding of serifs, the way curves rest against the baseline—all contribute to how a letter *sits *or stands..
- Standard M BoldMathematically 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 BoldAnd 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 Bold ItalicNo 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 M Bold ItalicInstances 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 L Bold ItalicSo 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 S HeavyA cock was once strutting up and down the farmyard among the hens when suddenly he espied something shinning amid the straw. “Ho! ho!” quoth he, “that’s for me,” and soon rooted it out from beneath the straw.
- Standard M HeavyAlthough 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 L HeavyTools supporting interaction design. At the same time, we can observe a trend towards reduced interaction surfaces. Users increasingly ask than navigate. Which increasingly reduces the area of contact.
- Standard S Heavy ItalicLetterforms were constructed, architectural drawings relied on projection, mechanical parts were dimensioned with astonishing precision. But as these constructions were “analogue”, they remained continuous. Enter the node: Forms are now discrete, shapes are a list of coordinates and continuity is produced by computational smoothing.
- Standard M Heavy ItalicWhat 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 L Heavy ItalicDesign 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 S BlackWandering does not leave any traces as long as it keeps up with the wandering of time. 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 M BlackDepends 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 L BlackTo lose face or to save face reveals the fragile, performative nature of this appearance. Therefore, naming a typeface is akin to attributing a paradoxical presence to letters, giving them an identity that is both personal and collective.
- Standard S Black ItalicBalance 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 Black ItalicWe 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 Black ItalicBalance 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.
- Settings
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.
- Designed by Grilli Type
- Released in 2026
- Available in 224 styles
- GT Canon is available for customization and language extensions
- Download the free trial fonts
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.