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 LightBut 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 LightA 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 LightCompositional 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 Light 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 Light ItalicAll 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 L Light ItalicWe 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 RegularCompositional 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 M RegularWhether 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 RegularCutting 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 Regular ItalicCompositional 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 M Regular ItalicWe 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 L 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 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 MediumTension 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 MediumBroadly 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 ItalicOne of the most important factors in keeping the feet on sucklings, weanlings and yearlings in proper condition as is specified in this article is to see that you are keeping the leg in the middle of the foot, otherwise many a good horse suffers, as the concussion and strain is not equally distributed on both sides of the foot when in action.
- Standard M Medium ItalicBring 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 L Medium 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 S SemiboldTo 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 SemiboldThe original or merely a template? Traces? And who is to say that our sense of things, our emotions and feelings, are nothing but an unwitting attempt to quote the stories and songs that have moved us?
- Standard L SemiboldConsidering 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 Semibold ItalicIn 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 M Semibold ItalicA 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 L Semibold 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 S BoldHe 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 M BoldIt 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 BoldLayouts 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 S Bold ItalicContrast 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 M Bold ItalicIf 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 L Bold ItalicCutting 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 HeavyThis 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 HeavyEdges 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 L HeavyBring 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 Heavy ItalicCompositional 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 M Heavy ItalicYou 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 Heavy 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 S BlackIn 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 M BlackNodes mark the transition into the technical age by how they turn form into data. Designers and engineers already thought in terms of measurements, geometry, and even coordinate-like reasoning long before the use of computers.
- Standard L BlackAnd also nodes are often defined more by their context than by their very coordinates. As junctions, connecting points or simply as a basic unit they fundamentally define the structure of data, the architecture of shapes.
- Standard S Black ItalicA 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 Black 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 L Black 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?
- 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.
GT Canon in use
