GT Canon

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Family overview
  • Condensed
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  • S Light Italic
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Subfamilies
  • Standard S 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 M Light
    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 Light
    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 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
    What 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 L Light Italic
    Balance 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 S Regular
    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 M Regular
    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
    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 Regular Italic
    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 M Regular 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 Regular 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 S Medium
    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 Medium
    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 L Medium
    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 S Medium 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 M Medium Italic
    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 L Medium Italic
    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 Semibold
    Balance 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 Semibold
    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 L Semibold
    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 Semibold 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.
  • Standard M Semibold 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 L Semibold Italic
    Balance 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 S Bold
    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 M Bold
    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 Bold
    Both arise in a mutual interplay. Although drawing has never been just a medium of representation, but always also one of operation, one that forces the model into a certain order (line, proportion, grid, materiality), the introduction of nodes has given this reciprocal relationship a significant influence on authorship, insofar as it shifts slightly ‘in favour’ of the model: digital drawing can no longer not be a model, and from now on, the designer can no longer purely be a drawer but is always also a model-builder. Nodes allow form to be computed.
  • Standard S Bold 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 M Bold Italic
    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 L Bold 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 Heavy
    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 Heavy
    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 Heavy
    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 S Heavy Italic
    Balance 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 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 L Heavy Italic
    Cutting into stone, writing swiftly by hand, pushing nodes on a graphical user interface: Motion is one of the driving forces in typography and a guiding principle between handwriting and type design.
  • Standard S Black
    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 Black
    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 Black
    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 S Black Italic
    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 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 Black 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.
  • 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.

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