GT Canon

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Subfamilies
  • Standard S Light
    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 Light
    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 Light
    Bring into view, make present, display. A display is not just what is shown but the act of showing itself. To make something appear as something. Since we not only see what is visible but the amorphous, fractioned mass of the invisible, that underlies it, overshadows it, precedes it and lingers on.
  • Standard S Light 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 M Light Italic
    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 L Light 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 Regular
    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 Regular
    When quoting, words do not necessarily have to change, and yet most things do alter. Typeface, layout, screen, print technology, paper, context, means of distribution. Quoting always raises the question of origin and our relationship to it. What is it that we change when we quote?
  • Standard L Regular
    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 S Regular Italic
    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 Regular 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 L Regular 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 Medium
    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 M Medium
    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 Medium
    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 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
    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 Medium 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 S Semibold
    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 Semibold
    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 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 S Semibold 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 M Semibold 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 Semibold Italic
    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 Bold
    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 Bold
    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 L Bold
    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 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
    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 Bold 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 Heavy
    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 M 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 L Heavy
    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 S Heavy 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 M 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 L Heavy 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 S Black
    When quoting, words do not necessarily have to change, and yet most things do alter. Typeface, layout, screen, print technology, paper, context, means of distribution. Quoting always raises the question of origin and our relationship to it. What is it that we change when we quote?
  • Standard M Black
    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 Black
    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 S Black 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 Black Italic
    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 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.
  • 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