Typograph is a type design tool made by designers at G–W Studios in Stockholm. It was born out of frustration, with the licence fees brands pay to use a typeface they’ll never own, and with the months it takes to draw a custom one.
As designers we kept hitting the same wall. A brand wants a voice of its own, and type is most of that voice. But the options were a retail font that thousands of others already use, licensed per seat, per website and per app, or a custom typeface that takes months and a budget most clients don’t have.
So we drew 35,000 glyphs by hand and built a tool around them. Describe a typeface, shape every letter, set the spacing and kerning, and download fonts that are yours for good. No licences to renew, no seats to count.
Our ambition is not to replace the craft of custom type design. It is to give more people access to it. We envision a world where every designer, founder and creative can shape their own visual identity instead of renting the same visual language as everyone else, without years of type training or enterprise budgets.
“One of the coolest design tools just dropped.”
“This is the typography tool we’ve been waiting for.”
“What Typograph does well is lower that barrier without pretending the craft doesn’t exist.”
“This Tool Let Me Design Fonts Without Years of Training”
“It gives designers a way to actually shape type without needing to become specialists.”
“I can’t deny that this thing is impressive.”
“It honestly feels like a dream coming true for many designers who love typography.”
“Typograph was created to lower that barrier without hollowing out the craft.”
“Tested it in Framer and it works flawlessly.”
Because the typeface is yours alone, not one thousands of other brands already use. You start from 35,000 hand-drawn glyphs and shape it until it fits.
Typograph removes the wall of specialist tools, long timelines and high budgets that has kept custom type out of reach for most designers and smaller brands. Instead of choosing between very expensive bespoke fonts, confusing licences or the same defaults as everyone else, designers get a practical middle ground to create their own type quickly.
A world where every designer, founder and creative can shape their own visual identity instead of renting the same visual language as everyone else, without years of type training or enterprise budgets.
Making custom type accessible to people who can’t afford or justify a full bespoke type project. It doesn’t mean replacing master type designers; it means widening who gets to take part in type design at all.
Yes. Every letter, width, weight, spacing and kerning pair can be changed in the editor, and you can add your own glyphs.
You do. Fonts you download with a paid plan are yours, with full rights, forever. No maze of licences, so what you make is usable commercially without legal guesswork.
No licences to track and no seat or view limits on fonts you’ve bought. The free test file is for trying a typeface out.
No. It is grounded in 35,000 glyphs drawn by hand over several years for exactly this purpose, to avoid the ethical and legal problems of training on other people’s commercial typefaces without consent.
No. High-end, complex and deeply customised typography will keep belonging to expert typographers and specialist studios. Typograph opens a new space where everyday designers can do more with type, and experts can prototype, experiment and earn in new ways.
Craft lives in decisions, not in suffering through every repetitive step. Designers still decide style, geometry, rhythm and personality; the tool helps extend and scale those decisions into a full character set.
Working on Typograph doesn’t stop anyone building AI for healthcare or climate; those happen in parallel. This tool focuses on a pain designers feel every day. We automate the mundane parts of type design and leave people the enjoyable parts of the craft.
Neither the data nor the output is taken from existing commercial fonts. What Typograph borrows is the long tradition of tools making certain steps easier, as digital type tools did after phototypesetting and metal type.
Like any tool, yes, if the person using it brings shallow thinking. A strong concept, good references and a clear understanding of brand and function still separate meaningful typography from generic output.
Gating craft behind high cost, obscure tools and years of technical friction preserves status, but it also limits who gets to take part. We believe more people understanding and practising type pushes the whole field forward.
Effort still matters, but it can shift from pure production to exploration and iteration. Taste comes from making many decisions and seeing their consequences; Typograph speeds up that feedback loop rather than skipping it.
Describe weight, style and geometry, or start from a style, then refine letters, spacing and kerning. The system extends your decisions across the whole typeface, which you can keep adjusting and then download.
In practice it’s closer to 1% AI and 99% your own craft and decisions. The AI helps with extrapolation and consistency; it isn’t the author of the work.
Yes. You can upload your own glyphs, drawn in tools like Illustrator, Figma or a font editor, and use them in your typeface. See the How-to videos below.
Yes. Download TTF, OTF, WOFF and WOFF2, ready for real brands, products and websites.
Minutes rather than months, and then you iterate from there. That speed is what makes custom type realistic for far more projects.
Working designers and studios who design brands and interfaces but don’t always have the budget or time for a full custom type project. Educators, students and independent typographers use it too.
A typeface that reflects their own style and story instead of renting a font dozens of similar companies already use. That kind of difference used to take a five-figure type budget.
Yes. Complex, global, multi-script type systems will still be commissioned from master type designers. Those projects need depth and collaboration far beyond what a tool should claim to automate.
To prototype ideas, generate variations and test directions faster than traditional tools allow, and to teach or share their own styles in new ways.
That it’s trained on stolen type, that it’s a one-click “easy button”, and that it aims to replace typographers. It’s built on hand-drawn data, needs active design decisions, and leaves plenty of room for high-end craft.
Typograph shifts value from repetitive execution to creative direction, systems thinking and storytelling. Designers who lean into those skills are more likely to benefit from the tool than be replaced by it.
Any lasting product needs a business model, but profit depends on delivering real value to designers and typographers. If the tool doesn’t respect the craft and open new possibilities, it won’t succeed commercially either.
Yes: use it to set client work apart, include it in brand packages, or build on it. Selling full typefaces through Typograph is something we’re working on.
The idea still stands: designers deserve faster, fairer access to custom type. Whatever comes next should keep the same principles: respect the data, respect the craft, remove needless friction.
Whether typographic personality should stay reserved for corporations with big budgets, or be open to every serious designer and founder. Typograph is a bet on the latter: more voices, more type and more experimentation make design better.