GT Canon

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Subfamilies
  • Standard S Light
    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 M Light
    Layouts 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 L Light
    Letterforms 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 S Light 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 M Light Italic
    This 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 L Light 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 S Regular
    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 Regular
    The way biological systems (cells, organs, ecosystems) shift their dynamics as they grow. The contrast between quantum behaviour and classical mechanics. In digital graphics, the notion of scalability is commonly treated as resolved: vector graphics are assumed to be infinitely and losslessly scalable.
  • Standard L Regular
    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 Regular 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 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 L 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 S Medium
    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 Medium
    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 Medium
    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 S Medium 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 M 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 L Medium Italic
    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 Semibold
    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 M Semibold
    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 L Semibold
    Although 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 S Semibold 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 M Semibold Italic
    Tools 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 L Semibold Italic
    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 S Bold
    The way biological systems (cells, organs, ecosystems) shift their dynamics as they grow. The contrast between quantum behaviour and classical mechanics. In digital graphics, the notion of scalability is commonly treated as resolved: vector graphics are assumed to be infinitely and losslessly scalable.
  • Standard M 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 L Bold
    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 S Bold Italic
    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 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 Bold Italic
    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
    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 M Heavy
    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 L Heavy
    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 S Heavy 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 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 L Heavy 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 Black
    On the other hand, tools and designs are tailored to the user to such an extent that they do not even need to be used, as every possible action is anticipated, thus becoming literally useless, and the user, around whom everything revolved, has been relieved of their usage. Free, weight-, timeless and a fence observer. Rather than being oppressed by tradition and forced to master the tool as it has been forged over hundreds of years of craft.
  • Standard M Black
    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 L Black
    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 S Black Italic
    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 M Black Italic
    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 L Black 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.
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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