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	<title>Didem Öğmen &#124; Type Design</title>
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	<pubDate>Tue, 06 Jan 2026 01:16:36 +0000</pubDate>
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		<title>font tester</title>
				
		<link>http://didemogmen.com/font-tester</link>

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		<pubDate>Tue, 06 Jan 2026 01:16:36 +0000</pubDate>

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		<excerpt>Font Tester                                                   Upload Custom Font                                      Drop font file here or click to...</excerpt>

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		<title>blog</title>
				
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		<pubDate>Sun, 20 Jul 2025 13:04:55 +0000</pubDate>

		<dc:creator>Didem Öğmen &#124; Type Design</dc:creator>
		
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  Blog – Didem Ogmen
  

    
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	Recent Updates
      
        
          About Wolss: An 18th-century revival
            Reconnecting with expressive type sketching
          
          
            On Letting Things Be Messy
            Thoughts on process over perfection
          
          
            Studio Update
            Notes on current projects and mindset




	
      About Wolss: An 18th-century revival
Wolss is a revival based on Groote Augustyn Romyn cut in 1760 by the Flemish punchcutter Jan Baptist van Wolsschaten (1714–1776). The face is relatively light compared to its eighteenth-century contemporaries, features narrow proportions and sharp details in its design. The digital interpretation reflects findings of a thorough research of the original type and printed materials preserved in the collection of Museum Plantin-Moretus in Antwerp, Belgium. The underlying grid system used in this Baroque type is reminiscent of Renaissance foundry type production methods, and is also applied to the final revival. Wolss currently includes a text style suitable for use in small sizes and also a display version emphasizing the characteristic design details found in the original punches.
        ResearchWolss is a revival of Groote Augustyn Romyn cut in 1760 by the Flemish punchcutter Jan Baptist van Wolsschaten (1714–1776) who was a member of the Van Wolsschaten family of printers and type-founders in Antwerp. The original matrices and punches are preserved in the collection of Museum Plantin-Moretus along with historical type specimens and books showing printed samples of the type. The target size of Groote Augustyn Romyn is about 12 pica points making the original type suitable for text use. The face is relatively light compared to its eighteenth-century contemporaries, features narrow proportions and sharp details in its design.

The examination of the matrices supports Dr. Frank E. Blokland’s1 dissertation about the standardised production methods in historical foundry type: Matrix widths were standardised and justified for fixed registers, and a stem-based unitisation system could be distilled. This system could be used for setting the ratios for x-height and ascenders/descenders, and fitting (spacing).

Development of the text styleThe unitisations derived from the matrices were initially used as a basis for the digital drawings; however, the result proved to be too light to read comfortably when set in text sizes. Although the punches and matrices were delicate in places, the ink spread as a result of the printing process caused emboldening of the type. In order to reflect this effect, historical prints were used to recalculate the unitisation system.
A square-grid was then formed based on these units and used as a framework during the design process. Since the matrix widths were standardised, it was possible to set the character widths with the help of the unitisation system and therefore reproduce digitally the original fitting of the type.Development of the display styleWhilst the type was made darker to be used for text purposes at small sizes, the original extremities of the type were moderated as a result of the lowered contrast. Details such as the hairline joints and sharp serifs were toned down in order to improve reading.
As a consequence, a higher contrast display version of the type was also worked on which would incorporate these formal details. For the display, the punches were taken as a basis whereas for the text, printed materials were referred to considering the ink spread. Additionally, further exaggerations in the details were added for emphasis in the display style.Italic explorationThe 1775 specimen signed by Van Wolsschaten also features a matching italic for Groote Augustyn Romyn, titled Groote Augustyn Corsyf. According to John Lane2, this italic was cut soon after the roman, based on a survey of the surviving specimens.Wolss familyThe future plans for Wolss is to extend the Latin character set for modern use and complete a family of three styles: Text, display and italic.The text and display styles are set on a variable optical size axis allowing control of the contrast flow by modulating the height of the serifs and the thickness of the thin strokes. The design goal for the italic is to complement the text style as it was originally cut by the Van Wolsschaten.&#38;nbsp;
	&#60;img width="2000" height="2000" width_o="2000" height_o="2000" src_o="https://cortex.persona.co/t/original/i/ee62c7adf9ecbe402f774019a90af12adac11a16ab2dfbc50953a0b7e4e8052a/w3840-quality90-fitscale-down-1.jpeg" data-mid="1413688" border="0" data-scale="100"/&#62;Wolss typeface was designed and developed during the Expert class Type design 2021–22 at the Plantin Institute of Typography. I would like to thank Dr. Frank E. Blokland for his guidance and supervision, and Jan Van der Linden, Bart Van Put and Museum Plantin-Moretus for their help and support throughout the project.




  &#60;img src="https://cortex.persona.co/w/1920/q/67/i/33cfa566faf35c9759d4b7fcadb95a7d9d1b01798ba737ac088fa45d42cdf075/w1920-quality90-fitscale-down.jpeg" style="height: 200px; margin-right: 1rem; display: inline-block;" data-scale="100"&#62;
  &#60;img src="https://cortex.persona.co/w/1920/q/67/i/32ad607424d0fbbaf0058f3f5d2a0eb1439bd4a184f2b8132b616ff18848b984/w1920-quality90-fitscale-down-1.jpeg" style="height: 200px; margin-right: 1rem; display: inline-block;"&#62;

Image 1: Detail of the type specimen signed J. B. Van Wolsschaten sculpsit, 1775, showing Groote Augustyn Romyn (about 12 pica points) cut by Van Wolsschaten.Image 2: Detail of Horae Diurnae, 1771, showing the type in use for the text of the book.
&#60;img width="2000" height="376" width_o="2000" height_o="376" src_o="https://cortex.persona.co/t/original/i/f5bc056b854e91c6750d7e44e3b9c0eeea94ef01b98fc3ae444e4d4e27e11042/w3840-quality90-fitscale-down.jpeg" data-mid="1413691" border="0" /&#62;The widths of the matrices were standardised by units of the stem width as illustrated in the letter /n. Matrices were also justified for fixed registers as marked above in red. A stem-based unitisation system could be distilled also for setting the body size ratios: x-height was calculated 12 units and the ascenders/descenders were equally 7 units.
&#60;img width="2000" height="838" width_o="2000" height_o="838" src_o="https://cortex.persona.co/t/original/i/716bf8094a109d0af6878c88490eff4f167154c08427d0472aa4b697380b188c/w3840-quality90-fitscale-down-1.jpeg" data-mid="1413692" border="0" /&#62;The character widths could be defined by the underlying unitisation system and an overlay of the matrices on the printed materials shows how the fittings for both match.
&#60;img width="1920" height="665" width_o="1920" height_o="665" src_o="https://cortex.persona.co/t/original/i/a0fc0f37becdbb2afc5908be87035e5db4e785ca984f9c56c35541bc41b33e32/w1920-quality90-fitscale-down-2.jpeg" data-mid="1413693" border="0" /&#62;The initial units derived from the matrices were recalculated based on the printed source to take into account the ink spread caused by printing. A square-grid was also formed as a framework for the design of the shapes. After many variations and tests, the final colour suitable for text purposes was decided.
&#60;img width="2000" height="1550" width_o="2000" height_o="1550" src_o="https://cortex.persona.co/t/original/i/c876758be09c1fb01c0b66a89bfe7626a46e84288693454a5868eb7c0b187ffa/w3840-quality90-fitscale-down-2.jpeg" data-mid="1413694" border="0" /&#62;Comparisons of the final digital revival with the original Groote Augustyn Romyn as seen in the type specimen signed J. B. Van Wolsschaten sculpsit, 1775.
&#60;img width="2000" height="1344" width_o="2000" height_o="1344" src_o="https://cortex.persona.co/t/original/i/db3aa0292477e5c09dd8d7bae5095494f52d4114b3ab790ea94b4ff5947104ce/w3840-quality90-fitscale-down-3.jpeg" data-mid="1413695" border="0" /&#62;






      
Expert class Type design: Exhibition
        This year, I attended the Expert class Type design 2021–22 course led by Dr. Frank E. Blokland at the Plantin Institute of Typography in Antwerp, Belgium.

For our final projects, we individually designed and developed a type revival of our choice. Wolss is my resulting typeface based on Groote Augustyn Romyn (about 12 points) cut in 1760 by the Flemish punchcutter Jan Baptist van Wolsschaten (1714–1776) who was a member of the Van Wolsschaten family of printers and type-founders in Antwerp. The original matrices and punches are preserved in the collection of Museum Plantin-Moretus along with historical type specimens and books showing printed samples of the type, and were used for my research to develop the final digital typeface.As part of the course, we have also worked together as a group to research and revive two roman-type models by the famous French punchcutter Claude Garamont (ca.1510–1561). The types we studied were Gros Canon Romain (41 points) and Bible Romaine (7 points), two models in opposite extremes of body size, to map out any differences in foundry type with regard to the basic structure and patterns that can be observed between a text and a display size.
Our results will be shown at the Museum Plantin-Moretus in Antwerp from 16 August to 25 September in the exhibition, “In Plantin’s Footsteps”. &#38;nbsp;
 
 
 
 
&#60;img width="2000" height="1550" width_o="2000" height_o="1550" src_o="https://cortex.persona.co/t/original/i/c876758be09c1fb01c0b66a89bfe7626a46e84288693454a5868eb7c0b187ffa/w3840-quality90-fitscale-down-2.jpeg" data-mid="1413694" border="0" /&#62;Comparisons of the final digital revival with the original Groote Augustyn Romyn as seen in the type specimen signed J. B. Van Wolsschaten sculpsit, 1775.

&#60;img width="2000" height="838" width_o="2000" height_o="838" src_o="https://cortex.persona.co/t/original/i/716bf8094a109d0af6878c88490eff4f167154c08427d0472aa4b697380b188c/w3840-quality90-fitscale-down-1.jpeg" data-mid="1413692" border="0" /&#62;The character widths could be defined by the underlying unitisation system and an overlay of the matrices on the printed materials shows how the fittings for both match.












  
    
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		<pubDate>Tue, 02 Feb 2021 13:27:20 +0000</pubDate>

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		<title>about</title>
				
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		<pubDate>Tue, 26 Jan 2021 07:40:04 +0000</pubDate>

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About

Didem Öğmen is an independent type and graphic designer based in Istanbul, Türkiye. She creates custom and retail typefaces, lettering and logo designs for local and international clients.

After studying graphic design at Central Saint Martins College of Art &#38;amp; Design in London, she worked for a decade at various studios and agencies both in London and Istanbul. In 2021-22, she attended the Expert class Type design programme led by Dr. Frank E. Blokland at the Plantin Institute of Typography in Antwerp.


In her client and personal projects, she’s focused on delivering quality type work exploring styles and solutions and attending to creative and technical details.

	
Services
	
Custom type design
Font development
Logotype design
Custom lettering
Language extensions

Contact
hello@didemogmen.comInstagram



  © 2026 Didem Öğmen
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		<title>terrazzo color</title>
				
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		<pubDate>Fri, 23 Oct 2020 09:23:11 +0000</pubDate>

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Terrazzo Color

A color font family inspired by the form and colors of terrazzo tiles.

The individual letterforms take their shapes from the interrupted strokes of a brush, overlaid and given different colors, in order to create the terrazzo pattern.&#38;nbsp;Designed as a bold, all caps typeface, it’s intended for display applications and suitable for expressive and decorative uses. 

Terrazzo Color includes six OpenType-SVG fonts, each created in a different color palette using the tones and shades of traditional terrazzo tiles.&#38;nbsp;

Terrazzo Color is available on&#38;nbsp;Creative Market.



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	&#60;img width="1920" height="629" width_o="1920" height_o="629" src_o="https://cortex.persona.co/t/original/i/c54c74a9df9fbaf0c38513af3e7132cbb32afa4986745de35988073dcf4af846/terrazzocolor-sample02.png" data-mid="1047075" border="0" data-scale="66"/&#62;





	&#60;img width="1920" height="770" width_o="1920" height_o="770" src_o="https://cortex.persona.co/t/original/i/a3ee3a1705cf3ec877e177e3edaff9b9e0aefadb14f99d4de25f9381c233ba3c/terrazzocolor-characterset.png" data-mid="1047076" border="0" data-scale="70"/&#62;





	&#60;img width="740" height="540" width_o="740" height_o="540" src_o="https://cortex.persona.co/t/original/i/21d5a8f8f78180c7e56069b4fc1ac38c377ada7de1c36901c74b6c8c2416777b/terrazzocolor-sample03.png" data-mid="1047077" border="0" /&#62;
	&#60;img width="740" height="540" width_o="740" height_o="540" src_o="https://cortex.persona.co/t/original/i/87f5da4b3adcdc7752fb338863dda15c93615c5c1fe2b4388fc585fe7fe876f5/terrazzocolor-sample05.png" data-mid="1047078" border="0" /&#62;




The family also includes a layered version which works like a chromatic font by stacking type styles.

It comes in four layers, from bottom to top with different parts of the characters. These can be used to create custom color combinations with varying number of colors.



&#60;img width="1920" height="1281" width_o="1920" height_o="1281" src_o="https://cortex.persona.co/t/original/i/a6ce3292f2a4d10ea5a6cc51bf6dd6251eae4654126db3c7778e152e60b47ee8/terrazzocolor-custom2.png" data-mid="1047079" border="0" /&#62;

&#60;img width="1920" height="1281" width_o="1920" height_o="1281" src_o="https://cortex.persona.co/t/original/i/479f2bf7d34db451446aca3f8c302fd3ac1498166153185107576547ed8e4a59/terrazzocolor-custom3.png" data-mid="1047080" border="0" /&#62;

&#60;img width="1920" height="1281" width_o="1920" height_o="1281" src_o="https://cortex.persona.co/t/original/i/0c792a5b6abd0ba586696a920248b9ed0e5e8ca005a081ac52c688edbbb74201/terrazzocolor-custom4.png" data-mid="1047081" border="0" /&#62;



  © 2026 Didem Öğmen
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</description>
		
		<excerpt>Work   Info   Journal    Terrazzo Color  A color font family inspired by the form and colors of terrazzo tiles.  The individual letterforms take their shapes...</excerpt>

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	</item>
		
		
	<item>
		<title>kit display</title>
				
		<link>http://didemogmen.com/kit-display</link>

		<comments></comments>

		<pubDate>Thu, 08 Oct 2020 15:31:15 +0000</pubDate>

		<dc:creator>Didem Öğmen &#124; Type Design</dc:creator>
		
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Kit Display Custom

Kit Display is a custom typeface designed for a sports apparel company (non-disclosed) producing football kits. A display font with all uppercase characters, it’s created to be used on football shirts for player names and numbers. The inline characters feature semi serif details for additional emphasis and contrast. 






&#60;img width="1920" height="740" width_o="1920" height_o="740" src_o="https://cortex.persona.co/t/original/i/8419abd89f2e6f797d51b85bfbc07974c3e131150bd6999e953551bddb2e201f/kitdisplay-characterset.png" data-mid="1047065" border="0" /&#62;



	&#60;img width="1920" height="1867" width_o="1920" height_o="1867" src_o="https://cortex.persona.co/t/original/i/ffd7a3ddddfc0a1f3463742f1a6ab9413cdf77171590e5425704997b38a5fb0d/kitdisplay-sampletext.png" data-mid="1047066" border="0" /&#62;




  © 2026 Didem Öğmen
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		<excerpt>Work   Info   Journal    Kit Display Custom  Kit Display is a custom typeface designed for a sports apparel company (non-disclosed) producing football kits. A...</excerpt>

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	</item>
		
		
	<item>
		<title>tropic labs</title>
				
		<link>http://didemogmen.com/tropic-labs</link>

		<comments></comments>

		<pubDate>Wed, 07 Oct 2020 21:31:16 +0000</pubDate>

		<dc:creator>Didem Öğmen &#124; Type Design</dc:creator>
		
		<category><![CDATA[]]></category>

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Tropic Labs Script

The sun care and beauty brand Tropic Labs required a custom typeface to use on their product packaging and for their brand communication.&#38;nbsp;The brief was to create a lively brush script typeface with prominent textures and a handwritten quality.Each character has originally been drawn on paper with a brush pen to accurately reflect the natural flow of handwriting and the structure of the brush strokes. The drawings are then digitised with further refinements to enhance coherence and legibility.&#38;nbsp;The resulting design is characterized by slightly leaned letterforms, light connecting strokes and some movement around the baseline.

The typeface works as the primary font for branding the product line and is used across their marketing materials as a headline font.





&#60;img width="1922" height="1424" width_o="1922" height_o="1424" src_o="https://cortex.persona.co/t/original/i/6a7db209cce0a382afe7b7dcd606824508f5ba7e6d7fd7303580758f5d46ff9f/tl-characterset.png" data-mid="1047046" border="0" /&#62;



	&#60;img width="1920" height="639" width_o="1920" height_o="639" src_o="https://cortex.persona.co/t/original/i/05020a1a440625ac180c21b8b499d4892130eb70f07a1383062be820b5840de0/tl-sunshine.png" data-mid="1047048" border="0" /&#62;



&#60;img width="1390" height="1390" width_o="1390" height_o="1390" src_o="https://cortex.persona.co/t/original/i/b77b200b6d0d48881401cbcade72e8a6006b3414f4599c98de37481fe05ecfc1/tl-products-all02.jpg" data-mid="1047049" border="0" data-scale="74"/&#62;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#60;img width="1080" height="1106" width_o="1080" height_o="1106" src_o="https://cortex.persona.co/t/original/i/b2924692f574ece73a4ccafc81a32fb66f82f72a190bd3390d4f7599b1d4f616/tl-gif-basetan.gif" data-mid="1047051" border="0" data-scale="60"/&#62;



&#60;img width="1920" height="1441" width_o="1920" height_o="1441" src_o="https://cortex.persona.co/t/original/i/870e8e792b143f9adc06841c044bb3f27995db04d7deb9b636c14146323d621c/tl-products-twoset.jpg" data-mid="1047053" border="0" /&#62;


&#60;img width="1400" height="1051" width_o="1400" height_o="1051" src_o="https://cortex.persona.co/t/original/i/5e871f278bb003f02859074893bbb375e24d315f37ba72bc0460129098f4bd48/tl-sketch-ani.gif" data-mid="1047054" border="0" /&#62;
	

&#60;img width="1920" height="856" width_o="1920" height_o="856" src_o="https://cortex.persona.co/t/original/i/7594ae67ef1e6c96dd163052cb8991a1b7b3b499cd76bde15106e61a1f25c322/tl-sampletext.png" data-mid="1047055" border="0" /&#62;

&#60;img width="1920" height="1628" width_o="1920" height_o="1628" src_o="https://cortex.persona.co/t/original/i/51c5ab51cf1e9a5f1dffa0ef0bcb556f9933309a531efd3f33e5c42269118a11/tl-sampletext04.png" data-mid="1047056" border="0" data-scale="75"/&#62;
 &#38;nbsp; &#38;nbsp;&#60;img width="1304" height="1106" width_o="1304" height_o="1106" src_o="https://cortex.persona.co/t/original/i/216e3186f631f5df07ecf46795086c169184b500672eec36cc92ecc64b4c2016/tl-gif-tansmart.gif" data-mid="1047058" border="0" data-scale="80"/&#62;
	&#60;img width="1920" height="1089" width_o="1920" height_o="1089" src_o="https://cortex.persona.co/t/original/i/9fdde98552733203010389923b0f996e458a0fa067e093d9ac56cd865bf51993/tl-sampletext03.png" data-mid="1047059" border="0" data-scale="95"/&#62;

&#60;img width="1920" height="1628" width_o="1920" height_o="1628" src_o="https://cortex.persona.co/t/original/i/4bd3a5f2853e8aa9f914fa0f89c64c5488fada9b1cdc920d37d4ccc8b202c3e4/tl-sampletext05.png" data-mid="1047061" border="0" /&#62;&#60;img width="1920" height="1628" width_o="1920" height_o="1628" src_o="https://cortex.persona.co/t/original/i/dbb9c088223bc47951d7441cddfe7485c8ac68dc594b513a69052d2a325b1dc9/tl-sampletext06.png" data-mid="1047062" border="0" /&#62;
	&#60;img width="1551" height="1106" width_o="1551" height_o="1106" src_o="https://cortex.persona.co/t/original/i/099bd5706b1bb414d8b9a3d5d6b1c9f2d894158ad9b703fa2826228bb658877f/tl-gif-overexposed.gif" data-mid="1047063" border="0" data-scale="60"/&#62;




  © 2026 Didem Öğmen
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</description>
		
		<excerpt>Work   Info   Journal    Tropic Labs Script  The sun care and beauty brand Tropic Labs required a custom typeface to use on their product packaging and for their...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

	</item>
		
		
	<item>
		<title>trt</title>
				
		<link>http://didemogmen.com/trt</link>

		<comments></comments>

		<pubDate>Mon, 14 Sep 2020 09:20:40 +0000</pubDate>

		<dc:creator>Didem Öğmen &#124; Type Design</dc:creator>
		
		<category><![CDATA[]]></category>

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	TRT Custom Type
TRT is Turkey’s national public broadcasting network with 14 TV channels and radio stations. The network required a custom corporate typeface to use as the unifying voice across its different channels’ logos and communications.

The brief was to create a type family based on the current logo of TRT. This family needed to appeal to a wide audience and be suitable for a diverse range of content throughout the network’s TV channels. The result is a geometric sans-serif family designed from the two letters of TRT logo with matching traits and proportions. The family includes four weights, each with its own oblique.&#38;nbsp;

The typeface was introduced in 2020 with a new slogan for the network, “Özü Sözü İnsan”, and a major advertising campaign. The family is also exclusively used as the primary typeface for TRT Haber’s new identity, the news channel of the network, including the channel logotype, idents, the screen interface and the graphics.

Commissioned by
 TBWA / Istanbul

Design Director
Özge Güven



	

&#60;img width="1920" height="870" width_o="1920" height_o="870" src_o="https://cortex.persona.co/t/original/i/bf91ad84c3d74858ee2ff831cc03cee95be7904f9a017b732bc7b8be3927878a/trt-characters-family.png" data-mid="1047024" border="0" /&#62;






	&#60;img width="1280" height="720" width_o="1280" height_o="720" src_o="https://cortex.persona.co/t/original/i/e0d38bdee924bd4c98a3f57d8a037bac061c2d3963f38a61e03f648ab35470c0/trt-evhayatdolu.gif" data-mid="1047025" border="0" /&#62;
	&#60;img width="1280" height="720" width_o="1280" height_o="720" src_o="https://cortex.persona.co/t/original/i/c92c00b197735cb29256405c40211a121e9f7e5089b1233ee0dac72afe79f434/trt-ozusozuinsan.png" data-mid="1047026" border="0" /&#62;

	&#60;img width="1696" height="960" width_o="1696" height_o="960" src_o="https://cortex.persona.co/t/original/i/44f8be0cf60ea71607d7cf182f5def7ed5ddf6f0b69ee968688a033292b0d0ad/trt-haber-logo.jpg" data-mid="1047027" border="0" /&#62;
	&#60;img width="1696" height="960" width_o="1696" height_o="960" src_o="https://cortex.persona.co/t/original/i/763e721355a469de31ab8774f8825814caa24ba0cd50ee6ad48731d5e1f5ad15/trt-haber-graphics.jpg" data-mid="1047028" border="0" /&#62;

	&#60;img width="1920" height="100" width_o="1920" height_o="100" src_o="https://cortex.persona.co/t/original/i/257f0e5129b6bc35ea79ae2d4047da68efb226cd54d451222eb621a23848385b/trt-sliding-ani.gif" data-mid="1047029" border="0" /&#62;
&#60;img width="1280" height="1280" width_o="1280" height_o="1280" src_o="https://cortex.persona.co/t/original/i/af517e78661def5336664f3612c5c2a94e801580c0d017beac55198d2929d46c/trt-spots-01.gif" data-mid="1047030" border="0" /&#62;
	&#60;img width="4004" height="925" width_o="4004" height_o="925" src_o="https://cortex.persona.co/t/original/i/03d4d3db30f5d2fa8e7757c1e36c27bc7ef6ad8c4ba237212c40059a164676e1/trt-specimen-large.png" data-mid="1047031" border="0" /&#62;

	&#60;img width="1980" height="1375" width_o="1980" height_o="1375" src_o="https://cortex.persona.co/t/original/i/f397d771a4c3d5914f7e71e1f11533e0f5c4415759bc581fcee357a06df7ba82/trt-specimen-small-02.png" data-mid="1047032" border="0" /&#62;
	&#60;img width="1980" height="1375" width_o="1980" height_o="1375" src_o="https://cortex.persona.co/t/original/i/9377c17afc35409f37b61bb5bed71f4c1e3aad0e99df2a5fdff248be472d7647/trt-specimen-small-03.png" data-mid="1047033" border="0" /&#62;

	&#60;img width="1890" height="1065" width_o="1890" height_o="1065" src_o="https://cortex.persona.co/t/original/i/029a0c4c57df5a7093858cdd9b9c750ff2c961cc2eb51e287064c528b0f57fbc/trt-characters.png" data-mid="1047034" border="0" data-scale="85"/&#62;


&#60;img width="1890" height="1065" width_o="1890" height_o="1065" src_o="https://cortex.persona.co/t/original/i/41b378e63d16098cc76491474c02b67f03d269c1c3fe83d333d5089c8d2b7c75/trt-characters-italic.png" data-mid="1047035" border="0" data-scale="85"/&#62;



	&#60;img width="1280" height="1280" width_o="1280" height_o="1280" src_o="https://cortex.persona.co/t/original/i/024688e4dea2d530f1e87652c98b687515eb0287a56c4a82515244b700f5b479/trt-spots-02.gif" data-mid="1047036" border="0" data-scale="40"/&#62;



	The full character set supports western and central European Latin languages. Language extension, spacing and kerning optimization is provided by Onur Yazıcıgil.

	&#60;img width="1920" height="1277" width_o="1920" height_o="1277" src_o="https://cortex.persona.co/t/original/i/6e6c127710920b03a4e313d9111237139d4f2d67165b2bc68aa9a5243a779c4e/trt-characters-full.png" data-mid="1047037" border="0" /&#62;


	&#60;img width="1000" height="1698" width_o="1000" height_o="1698" src_o="https://cortex.persona.co/t/original/i/4a1bafec7841182bdcbea25c6aefe742e2ea7e2c2b6b6c9a3e298435e4216743/trt-trt1program.png" data-mid="1047038" border="0" data-scale="66"/&#62;


	&#60;img width="1600" height="1173" width_o="1600" height_o="1173" src_o="https://cortex.persona.co/t/original/i/3c1a1e7ea82a5f6cebaa209b3c8475ce08b32883d3b6b0c4f0e5d2058c21b6b7/trt-trt2program.png" data-mid="1047039" border="0" /&#62;



	
	
	&#60;img width="1080" height="1080" width_o="1080" height_o="1080" src_o="https://cortex.persona.co/t/original/i/bcfad8b0be6e5adad5585651c0bad6c16878659eb55baab6fe3b3ae4d7c4dd80/trt-muzik-01.jpg" data-mid="1047040" border="0" /&#62;
	&#60;img width="1080" height="1080" width_o="1080" height_o="1080" src_o="https://cortex.persona.co/t/original/i/fbe1c51bd83923454e5581fad01081a129da18293b86c00b4c5fe52b46d27f6e/trt-muzik-02.jpg" data-mid="1047041" border="0" /&#62;



	&#60;img width="1080" height="1080" width_o="1080" height_o="1080" src_o="https://cortex.persona.co/t/original/i/bcab9077edc235119219b6ce8b526e507c270d3fc9c4e7fdc887c167ded6a7bf/trt-giy-02.jpg" data-mid="1047042" border="0" /&#62;
	
&#60;img width="1080" height="1080" width_o="1080" height_o="1080" src_o="https://cortex.persona.co/t/original/i/9f20ec299df539e21624085eb58783e11b0e26025c38d3d27f5eb5456f6d568a/trt-giy-01.jpg" data-mid="1047043" border="0" /&#62;

	
	




  © 2026 Didem Öğmen
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</description>
		
		<excerpt>Work   Info   Journal      	TRT Custom Type TRT is Turkey’s national public broadcasting network with 14 TV channels and radio stations. The network required a...</excerpt>

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	</item>
		
		
	<item>
		<title>wip</title>
				
		<link>http://didemogmen.com/wip</link>

		<comments></comments>

		<pubDate>Tue, 04 Aug 2020 09:01:15 +0000</pubDate>

		<dc:creator>Didem Öğmen &#124; Type Design</dc:creator>
		
		<category><![CDATA[]]></category>

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&#60;img width="207" height="202" width_o="207" height_o="202" src_o="https://cortex.persona.co/t/original/i/e19ca4cb63aaac207b381ff1a00088a3a509375444f780599c1c5c53334fda87/wip-badge.png" data-mid="1047016" border="0" data-scale="12"/&#62;

&#60;img width="1820" height="1118" width_o="1820" height_o="1118" src_o="https://cortex.persona.co/t/original/i/e19274a504fd030de5e763cda5970b20297bdaf9044dcd19f2a0762611ad458e/wip-family-black.png" data-mid="1047017" border="0" /&#62;&#60;img width="1820" height="1118" width_o="1820" height_o="1118" src_o="https://cortex.persona.co/t/original/i/e112ddf50cba88ccbc37314ba5f811080f6922ef1f6badb25b7bca0f4ad6af54/wip-family-white.png" data-mid="1047018" border="0" /&#62;


	
	&#60;img width="1820" height="871" width_o="1820" height_o="871" src_o="https://cortex.persona.co/t/original/i/5a91f3764ba3a053439120e154606c3756e99a2183f6e7715fb6c4712f6318e3/wip-paragraph.png" data-mid="1047019" border="0" /&#62;

	&#60;img width="1920" height="764" width_o="1920" height_o="764" src_o="https://cortex.persona.co/t/original/i/3396981e7e1a7024e129a60a422dbf007dd1b0797c483f9933c4ba2a73cd49fc/wip-fogs.png" data-mid="1047020" border="0" /&#62;
&#60;img width="1920" height="439" width_o="1920" height_o="439" src_o="https://cortex.persona.co/t/original/i/616e493a23652added6bb46922ed9d7606936de11682feb39e74ea194413a278/wip-glimmering.png" data-mid="1047021" border="0" /&#62;
	
	&#60;img width="1920" height="439" width_o="1920" height_o="439" src_o="https://cortex.persona.co/t/original/i/f2b0fa56eec582d679636893dcb09294daf4693b9e2ba3c2b36d5b154c647368/wip-dandelions.png" data-mid="1047022" border="0" /&#62;



  © 2026 Didem Öğmen
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		<excerpt>Work   Info   Journal          	 	  	  	 	      © 2026 Didem Öğmen   Email   Instagram</excerpt>

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	<item>
		<title>Home Page</title>
				
		<link>http://didemogmen.com/Home-Page</link>

		<comments></comments>

		<pubDate>Wed, 02 Dec 2015 20:09:56 +0000</pubDate>

		<dc:creator>Didem Öğmen &#124; Type Design</dc:creator>
		
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    &#60;img width="1920" height="722" width_o="1920" height_o="722" src_o="https://cortex.persona.co/t/original/i/e412a8b31913711cb1ed8a2f104fc9b78cef7842f8a4c11b5142fca263e0cdfc/netflix-platform.jpg" data-mid="1427363" border="0" /&#62;&#60;img width="1920" height="960" width_o="1920" height_o="960" src_o="https://cortex.persona.co/t/original/i/a92251809a6de1f895696db9b5263d5fe82e2f808d4710cfcced6e03772dac15/netflix-all-home-02.jpg" data-mid="1427230" border="0" /&#62;
  



	
    Netflix Selection of title localization designs
  



	&#60;img width="2880" height="1800" width_o="2880" height_o="1800" src_o="https://cortex.persona.co/t/original/i/acf8c627f50c6232d19cc0b570f5d22b6c54ac6ae6f2c4770aa738b0cc8e1ce3/Screenshot-2025-09-18-at-12.13.17.png" data-mid="1427240" border="0" /&#62;
	&#60;img width="2880" height="1800" width_o="2880" height_o="1800" src_o="https://cortex.persona.co/t/original/i/e02acc0c05cb192c3ce85f1dd341f9a4550ff3fb6f78e89dbb42d03350d81ce1/Screenshot-2025-09-18-at-16.54.08.png" data-mid="1427239" border="0" /&#62;


	Netflix Font production based on artist’s drawings for the Netflix film “Don’t Leave” (original title “Kal”)
All credit sequence stills © 2022 Netflix.




	&#60;img width="1920" height="960" width_o="1920" height_o="960" src_o="https://cortex.persona.co/t/original/i/a4516bd9659c419924420384a0cac99f528d548357e0b5d9d7fd7354f4912ad7/wolss-home-02.png" data-mid="1308523" border="0" /&#62;


	
    Wolss An 18th-century revival
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&#38;nbsp;
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</description>
		
		<excerpt>Work   Info   Journal    	            	     Netflix Selection of title localization designs       	 	   	Netflix Font production based on artist’s drawings for...</excerpt>

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