Fonts made with AI, and made to be used.
aifonts.ink is Lund Studio's font store: 800 fonts designed in conversation with Claude, Anthropic's AI model, and drawn by the studio's own type engines. Every one is a real TTF file for Mac, PC and the web, with commercial use in every licence.
- What you buy
Real font files. Install them on a Mac or PC, use the same files on a website, and download them again any time from My fonts.
- Who makes them
Lund Studio, working with Claude. The studio chooses every font, directs it, sets it and tests it before it goes on sale.
- Checked for copying
Every letter is compared with 203 published typefaces. Fonts that share outlines score about 0.94; the closest any of ours comes is 0.83.
- Beyond the catalogue
THE FONT MAKER, an AI skill card that lets you make your own fonts with Claude, sold only here, and commissions for a font made just for you.
Yes, these are AI-made fonts
We say it on every page because it is true, and because a font you build a brand on should come from somewhere you can see. Every font here was designed in conversation with Claude and drawn by code Lund Studio wrote: letter skeletons, pens, serifs and effects. Nothing is traced, scanned or trained from anyone else's fonts.
Why that's fine: a font is judged by what it does on the page. These are complete font files with spacing and kerning set by the same rules the classic workhorse fonts follow. Each one is checked against published typefaces so it isn't a copy, and every name is screened so it doesn't borrow someone else's. Each file carries its copyright and licence inside it, so you always know what you're allowed to do.
How they're made, in brief
- Skeleton. Each letter starts as the centre line of its strokes, the path a pen would take.
- Pen. A pen shape is drawn along that path, which sets the weight, the contrast and the character: round, square, broad-nibbed or brushy.
- Details. Serifs, ink traps and effects are added, and the outline is traced into the curves a font file stores.
- Spacing and kerning. The space around every letter is set by Walter Tracy's method on a model fitted to fonts people already trust, then the awkward pairs are kerned.
- Checks. Every letter is compared with published typefaces, every name is screened, and every file is installed and tested before it is listed.
How the logo was decided
The mark was drawn in one afternoon, October 15, 2026. Carter's first brief was "an old fountain pen and some ink you would have to dip". Then it narrowed: all black ink, classical, the kind of pen Socrates or Plato would have written with, and simple, elegant and powerful. Four drawings later, the mark was set.
One honest footnote: in Plato's Athens people wrote with reed pens on papyrus, or a stylus on wax, and the feather quill came centuries later. (Socrates himself never wrote his ideas down; Plato did.) We kept the quill anyway, because at a glance everyone reads it as writing by hand.
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Sketch 1 · October 15, 2026
A dip pen and an ink bottle
The brief taken literally: a steel nib with its slit and breather hole, a ferrule and a slim holder, just lifted from a bottle of ink. Claude added one pink drop falling back in.
Dropped: a steel nib reads as a schoolroom or office pen, not a classical one. Kept: the pink drop.
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Sketch 2 · October 15, 2026
A dip pen and a glass inkwell
The bottle became a glass well drawn as a single line, so you can see the ink sitting inside it.
Kept: the see-through glass, with the ink at the bottom. Dropped: the steel pen.
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Sketch 3 · October 15, 2026
A quill and a black inkwell
After "all black ink, classical, like Socrates or Plato would have written with", the pen became a feather quill: barbs cut along the vane, a spine down the middle, a split at the point.
Kept: the quill. Dropped: the solid black well, which hid the ink.
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Final · October 15, 2026
The mark: quill, glass, hemlock
The quill from sketch 3 over the glass well from sketch 2, now holding ink the colour of hemlock, with the pink drop and a pink dot in the name.
Chosen. It is the tab icon, the header and the inkwell on every page.
The mark, part by part
The quill
A feather quill with its barbs notched along the vane, its spine running down the middle and a split at the point, just lifted out of the well. It is the pen most people picture when they think of writing by hand.
The see-through well
The inkwell is drawn as a glass outline, so you can see what is inside it: an honest container, like the store.
Hemlock ink
Plato's Phaedo describes the cup Socrates drank but never its colour. Poison hemlock is in the parsley family; crushed and steeped, it would have made a cloudy, murky green. That green is the ink at the bottom of the well: #4F6B3A.
The pink drop
One drop falling back into the well. It came in with the first sketch and stayed, at Carter's word: "keep the drop pink and the . on aifonts.ink". #C4006A
The pink dot
The full stop in aifonts.ink is the same pink as the drop, so the name and the mark share one detail.
PHI Bold, the wordmark
The wordmark is set in PHI Bold, Lund Studio's own workhorse sans, drawn as outlines so it looks the same everywhere. The site itself is set in THE INK, the house face drawn for aifonts.ink on October 18, 2026: PHI's proportions with softly squared stroke ends, the way a modern pen writes on good paper.
More logos at ailogos.tech
The full set of aifonts.ink logo concepts, and more logos from Lund Studio, are coming to ailogos.tech. It isn't open yet; this page will link to it when it is.
ailogos.tech · coming soon
Lund Studio LLC · Questions about the fonts or a licence: lundrlundlunseluense@gmail.com