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Subfamilies
  • Standard S Light
    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 Light
    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 L Light
    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 Light 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 Light Italic
    In 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 L Light Italic
    Depends on a ruler who can be deceived, attacked, and overthrown. Higher power unfolds beyond that. Smart, gentle, even “positive” power operates through consent, self-optimisation, and internalisation, not through prohibition or force.
  • Standard S Regular
    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
    In 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 L Regular
    One 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 S Regular Italic
    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 Regular Italic
    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 L Regular 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 S Medium
    Dorothy lived in the midst of the great Kansas prairies, with Uncle Henry, who was a farmer, and Aunt Em, who was the farmer’s wife. Their house was small, for the lumber to build it had to be carried by wagon many miles.
  • Standard M 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 L 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 S Medium 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 M Medium 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 L Medium 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 S Semibold
    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 Semibold
    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 L Semibold
    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 Semibold 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 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 L Semibold 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 Bold
    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 M Bold
    Depends on a ruler who can be deceived, attacked, and overthrown. Higher power unfolds beyond that. Smart, gentle, even “positive” power operates through consent, self-optimisation, and internalisation, not through prohibition or force.
  • Standard L 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 S Bold 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 M Bold 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 L Bold 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 S Heavy
    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 M Heavy
    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 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
    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 Heavy 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 Heavy 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 S Black
    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 M 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 L 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 S Black 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 M Black 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 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