Katie Foskett

You can download usiful link: Bodrum Sans PDF Type Specimen

Bodrum Sans is a sans serif type family. Designed by Bülent Yüksel in 2018/19. The font, influenced by style serifs, popular in the 1920s and 30s, is based on optically corrected geometric forms for better readability.

Bodrum Sans is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Bodrum Sans a harmonious and sensible appearance for both texts and headlines.

Bodrum Sans provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family.
The designation “Bodrum Sans 14 Regular” forms the central point. “Bodrum Sans” is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Meduim, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters.

Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy in all graphic programs.
Bodrum Sans is the perfect font for web use.

Bodrum Stencil - PDF Type Specimen

Bodrum Collection:
1- Bodrum Sans
2- Bodrum Sweet
3- Bodrum Stencil
4- Bodrum Slab
5- Bodrum Styte
6- Bodrum Soft

Bodrum Stencil is a stencil serif type family. Designed by Bülent Yüksel in 20018/19. The font, influenced by style serifs, popular in the 1920s and 30s, is based on optically corrected geometric forms for better readability.

Bodrum Stencil is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give “Bodrum Stencil” a harmonious and sensible appearance for both texts and headlines.

Bodrum Stencil provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family.
The designation “Bodrum Stencil 14 Regular” forms the central point. “Bodrum Stencil” is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Meduim, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters.

Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs.

Bodrum Stencil is the perfect font for web use.

Old Labels JNL was inspired by the red and white gummed labels that were used for shipping parcels long before self-adhesive materials and desktop publishing rendered the older labels obsolete.

The fifty-two glyphs include a generous supply of phrases such as ‘Air Mail’, ‘Do Not Bend’, ‘Rush’, etc. along with a number of blank label backgrounds and decorative frames.

NOTE: Commercial replication of the images within this font for any resale purposes (including, but not limited to labels, t-shirts, stock designs, et al) requires a separate license which may be obtained by contacting the designer via the email address found within the End User License Agreement.

Briliantine Script is beautiful, fashionable and super-chilled new handwriting font script with some sexy stylish extras.

Briliantine Script offers beautiful typographic harmony for a diversity of design projects, including logos & branding, wedding designs, social media posts, advertisements & product designs.

My Sister is a new modern calligraphy typeface built in 658 glyphs. It has OpenType features with PUA encode. This is a smart font works with popular design software such as Photoshop, Corel Draw X version, Illustrator, Microsoft Office, etc. This modern calligraphy typeface welcomes you to use it for various purposes such as logo, card, wedding invitation, headings, signatures, t-shirt, letterhead, cutting, hot stamping, signage, labels, posters and more. It’s very craft friendly.

Introducing Bataler Vintage Font with elegent and professional style, perfect for adding some romance and charm to your designs. This script functions most strongly as a display or headline font. suitable for logo, logotype, branding,wedding, fashion, label, book cover, t-shirt, instagram post, and other

Alias Vertical is a sans serif typeface with a vertical cut-off point for letter endings.

The vertical cut-offs bend round characters (b, c, o, etc) into a squarish, high-shouldered shape, suggesting Roger Excoffon’s Antique Olive. In mid-weights, the typeface mixes Antique Olive with typefaces such as Gill or Johnston, for example the shape of the t, the l borrowing Johnston’s flick. Vertical has the same minimal difference in weight between verticals and horizontals as Gill and Johnston, and the same sharp connection point where curves meet straight lines. Like Antique Olive, Vertical has a narrow connection point here, adding contrast and definition. The overall effect feels austere at lighter weights and strident and graphic at bolder weights, and sharp and incised throughout.

In the Bold and Black weights, the squarish and top heavy shape of Antique Olive is most noticeable. For example the wide uppercase, with the B having almost-even width between top and bottom curves, and the almost-overhang of the top curve of the G. But Vertical does not have as extreme an aesthetic or square shape as Antique Olive.

As well as its wide design, the upper case is given extra authority by being a slightly heavier weight than the lower case. This is a device borrowed from Gill, and other ‘old’ typefaces, where the upper case is presented as a titling design. Modern sensibilities are more focussed on an even colour between upper and lower case.

Vertical was originally intended as a sister typeface to Ano, like AnoAngular or AnoStencil. Vertical developed into a similar but separate design. Ano was designed for use in Another Man — in its modular, circle-base design, and the way there aren’t the amendments usually made in bolder weights to ensure letter clarity. This is for layouts where different weights are used together in different sizes so that the overall letter weight is the same, a feature of the magazine. Where Ano is simple and graphic, Vertical has nuance and texture. It is a pragmatic, utility design. In the balance between graphic and typographic, its focus is the latter.