מחולל גופנים

01 תיאור

מודל

Epicur Spinoza ×3 Nietzsche ×5

02 שפות המשפחה

EN English FR Français ES Español DE Deutsch IT Italiano PT Português PL Polski CS Čeština SK Slovenčina HU Magyar HR Hrvatski SL Slovenščina LT Lietuvių TR Türkçe NL Nederlands SV Svenska DA Dansk NO Norsk FI Suomi ET Eesti SQ Shqip CA Català IS Íslenska GA Gaeilge GL Galego AF Afrikaans TL Tagalog LB Lëtzebuergesch FO Føroyskt ID Indonesia MS Melayu SW Kiswahili SO Soomaali RO Română UZC Ўзбекча KK Қазақша TG Тоҷикӣ MN Монгол KY Кыргызча TT Татарча OS Ирон SAH Саха MHR Марий CV Чӑваш TKC Түркменче RU Русский UA Українська BE Беларуская BG Български MK Македонски SR Српски EL Ελληνικά HE עברית HI हिन्दी ZH 中文 · 3755 ZHF 中文 · 6763 JA 日本語 KO 한국어

מערך תווים

אותיות ספרות סימני פיסוק סמלים

משקלים

רגיל Bold Thin

צרו גופן

הגופן הראשון חינם · בלי כרטיס אשראי · TTF/OTF/WOFF/WOFF2

הכי חמים השבוע

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איך זה עובד

שאלות נפוצות

How to write a brief a generator can act on

Custom means the typeface follows your brief, so the brief is the work. Vague adjectives — modern, clean, premium — describe a mood every second font claims. Concrete decisions describe a shape. Four axes cover most of what matters:

1. Skeleton. Geometric, humanist, grotesque, serif, monospace, script. This is the single biggest decision and the one a model can least guess from “clean”.
2. Proportion and weight. Condensed or wide, light or heavy, tall x-height or small. Say it in relative terms — “narrow, heavier than a typical text face” beats a number.
3. Details with names. Single-storey a, flat terminals, square dots, high contrast, open apertures. Each named detail is a decision the draft can execute instead of inventing.
4. A use, and an era if it matters. “For packaging, read across a shelf” and “1970s cinema titles” both narrow the field faster than another adjective would.

Matching an existing brand style

If the style already exists somewhere — a logo, a poster, a few letters drawn by a designer years ago — upload it instead of describing it. The generator reads stroke weight, contrast, terminal shape and rhythm from the letters you have and draws the rest in the same voice. A five-letter wordmark is enough to extend into a full character set.

This is the usual reason companies commission a typeface, and the usual reason they do not: a custom family from a foundry is months and five figures. Extending your own mark into a working font removes both the wait and the licence you would otherwise renew every year.

Custom does not have to mean starting from nothing

The first draft is a starting position, not a verdict. Generate, read it in your own copy, and change what is wrong: single glyphs can be regenerated or redrawn without touching the family around them, and a weight or a language can be added to a font that already exists.

That loop is the actual advantage over commissioning. You are not paying per revision and not waiting a week to see one, so the third version of a brief costs you a minute instead of a meeting.

Coverage: the part that is hard to buy

One custom family covering up to 60 languages across 10 writing systems is the capability that separates this from a font shop. Matching Latin, Cyrillic, Greek, Arabic, Hebrew, Devanagari and CJK in a single voice is rare on the market, priced accordingly, and usually assembled from several families that never quite agree.

Here the scripts are drawn in the same pass from the same brief, which is why a product shipping in four languages ends up looking like one product rather than four.

מחוללים נוספים

קירילי ערבי סיני יפני קוריאני עברי יווני הינדי (דוונגרי) רב-לשוני הפכו את כתב היד שלכם לפונט ליצור פונט מתמונה גופן משלכם לאתר צרו פונט משלכם — *בחינם* יוצר גופנים — *צרו גופן* בדקות גופני AI — *גופנים אמיתיים*, לא אפקטים של טקסט גופן מלוגו — *גופן שלם* מהלוגו שלכם API / MCP