Today, I am inspired by film titles of the 1920s and 30s. Although these titles were restricted to black and white, the typography speaks for itself.

Today, I am inspired by film titles of the 1920s and 30s. Although these titles were restricted to black and white, the typography speaks for itself.

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25 Classic Fonts That Will Last a Whole Design Career

25 Classic Fonts That Will Last a Whole Design Career

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serif fonts paired with sans serifs, like fine cheeses paired with their perfect fruit counterparts!

serif fonts paired with sans serifs, like fine cheeses paired with their perfect fruit counterparts!

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Nice clean and classic font it bridges the gap between too masculine and too feminine Letterhead Fonts / LHF Stunt Roman / Classic Fonts

Nice clean and classic font it bridges the gap between too masculine and too feminine Letterhead Fonts / LHF Stunt Roman / Classic Fonts

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Oh Bella. I am leaning toward a real thick and thin stroke font for your identity. Mixed with a bit of the rawness of Fortune magazine.

Oh Bella. I am leaning toward a real thick and thin stroke font for your identity. Mixed with a bit of the rawness of Fortune magazine.

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Elegant with an edge - this premade logo design features a rustic hand-lettered calligraphy font with gorgeous swashes to symbolise your two initials, followed by your name in a minimal classic font.   https://www.etsy.com/au/listing/450921206

Elegant with an edge - this premade logo design features a rustic hand-lettered calligraphy font with gorgeous swashes to symbolise your two initials, followed by your name in a minimal classic font. https://www.etsy.com/au/listing/450921206

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This is a revival font. I could have chosen Bodoni, which I also love, but Didot gets the nod over its Italian sibling. However, it’s this particular cut by the type designers Jonathan Hoefler and Toby Frere-Jones that I think is something near to perfection. It was created for the Harper’s Bazaar magazine in the 1980s for the aforementioned Fabien Baron. It just feels like a fashion font – effortlessly beautiful but honed and crafted.

This is a revival font. I could have chosen Bodoni, which I also love, but Didot gets the nod over its Italian sibling. However, it’s this particular cut by the type designers Jonathan Hoefler and Toby Frere-Jones that I think is something near to perfection. It was created for the Harper’s Bazaar magazine in the 1980s for the aforementioned Fabien Baron. It just feels like a fashion font – effortlessly beautiful but honed and crafted.

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