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
    All we see are moments of division, are the edges where the one tips over into the other in order to remain the same. In praise of imagery: Imagination, pencils and all other instruments of visualisation eventually help us to create these compressed surfaces.
  • Standard M Light
    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 Light
    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 S Light 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 M Light Italic
    Since 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 Light Italic
    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
    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 M 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 L Regular
    It is one of the oldest branches of biological science, with its origins lying in early human attempts to understand the body by cutting it open, drawing it and naming its parts.
  • Standard S Regular Italic
    Wandering 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 Regular Italic
    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 Regular Italic
    Every face is different, and every face is the same: it reveals not only itself, but the generality of its essence. Hence, every face is both singular and plural: this face, and the category of face. To call something a face is to give it agency, to acknowledge that it meets us.
  • Standard S Medium
    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 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 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 S Medium Italic
    Since 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 M Medium Italic
    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 L Medium Italic
    It is one of the oldest branches of biological science, with its origins lying in early human attempts to understand the body by cutting it open, drawing it and naming its parts.
  • Standard S 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 M Semibold
    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 L Semibold
    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 Semibold 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!
  • Standard M Semibold Italic
    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 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 S Bold
    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
    Quoting is a technique of remembering. When we quote, we conjure up the past. We bring a text or an image from another time and place into a new environment. Remembering is a transformative process: what we remember is altered by adding, omitting or rewriting. The house is now red.
  • Standard L Bold
    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 Bold Italic
    Uncle Henry never laughed. He worked hard from morning till night and did not know what joy was. He was gray also, from his long beard to his rough boots, and he looked stern and solemn, and rarely spoke.
  • Standard M Bold Italic
    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 Bold Italic
    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 S Heavy
    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!
  • Standard M Heavy
    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 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 S Heavy 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 M Heavy 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 L Heavy 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 S Black
    In the war of Troy, the Greeks having sacked some of the neighbouring towns, and taken from thence two beautiful captives, Chryseïs and Briseïs, allotted the first to Agamemnon, and the last to Achilles.
  • Standard M Black
    To 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 L Black
    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 S Black 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 Black Italic
    Quoting is a technique of remembering. When we quote, we conjure up the past. We bring a text or an image from another time and place into a new environment. Remembering is a transformative process: what we remember is altered by adding, omitting or rewriting. The house is now red.
  • 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.
GT Canon in use