Trong cuộc sống xung quanh ta có những kẻ luôn ganh ghét và luôn đâm thọc sau lưng ta. Ta nên lánh xa họ. Tuy nhiên, có những mối quan hệ không thể tránh né được. Thôi thì hãy vào đọc những cẩm nang “Phải-trái, đúng sai” của Lisa 0. Engelhardt để hướng dẫn ta đối diện với họ. Tốt hơn nữa là hãy chia sẻ trang này đến những kẻ đó để họ tự rèn luyện lại đạo đức của chính mình.

By chopping the serifs off their slab family, Mortise, Seán Mongey and Max Phillips created Tenon, a sans family that not only complements its slab sibling, but also stands on its own. With open counters, a generous x-height, and wide proportions, Tenon offers versatility in setting type across print and digital environments. Tenon supports many languages, including Vietnamese. With combined diacritics,Tenon’s acute, grave, hook above, and tilde stack consistently on top of its circumflex. For a geometric family, the hook has a subtle but discernible tail. Take a look.

Mỗi câu tràng hạt Phật là Tâm
Phật rõ là Tâm uổng chạy tìm
Bể Phật dung hòa Tâm với Cảnh
Trời Tâm bình đẳng Phật cùng sanh
Bỏ Tâm theo Phật còn mơ mộng
Chấp Phật là Tâm chẳng trọn lành
Tâm, Phật nguyên lai đều giả huyễn
Phật, Tâm đồng diệt đến viên thành.

Each year I have to take the dreadful mandatory IT security training. It’s 40 minutes long interactive video. Luckily, it provides a pre-test to determine how much I already know. I got a perfect score within 15 minutes thanks to AI. I only had to watch a few minutes of the intro and the conclusion. I don’t use AI too often, but this is an exception.

This cute couple broke my YouTube Short record with over 11k views.

With triangular serifs yet curved brackets, Pennyroyal DJR, designed by David Jonathan Ross, balances personality and functionality. Although Pennyroyal DJR is a book face, it can also be set for long-form reading in digital environments thanks to its smooth, open, and airy letterforms. Pennyroyal DJR comes with sharp diacritics. For Vietnamese, its acute, grave, and hook above stack to the right of its circumflex. Take a look.

I sent this letter to Toyota:

I had a service appointment at Priority Toyota Springfield on Friday, June 27, 2025 at 11 am. I didn’t leave the dealership until 4 pm. An oil change and state inspection took 5 hours. I had to wait at the dealership because Mr. MB refused to shuttle me home. I understood that the distance from Priority Toyota Springfield to my house was 9.5 miles; therefore, he couldn’t take me. He grumpily informed me that he had been working since 8:00 am. I felt his pain, but I didn’t appreciate his rudeness.

From the long-wait service to the disgruntled employee, I was extremely disappointed with the entire Toyota experience. As an owner of two current Toyota Siennas and various Toyota cars in the past, I have been a loyal Toyota customer. I am looking to purchase a new Sienna, but I am not sure about the bad experience I had at Priority Toyota Springfield.

Please do better,

Sincerely,
Donny Trương

NaN Jaune, designed by Jérémy Landes, flips the script with its closed apertures, short extenders, text for display, and display for text. NaN Jaune comes in three flavors: Maxi (swells at display sizes), Midi (sings at text sizes), and Mini (maintains legibility at small sizes). NaN Jaune is packed with diacritical swags. For Vietnamese, its acute, grave, and hook above stack to the right of its circumflex. NaN Jaune is also used for my Björk project.

Chiều thứ Bảy vừa quá, anh bạn rủ qua nhà nhậu lai rai. Tối đến rủ nhau hát karaoke. Trong đám có mấy đứa cháu hát tiếng Việt cũng thú vị. Nó hát ca khúc “Tình đơn phương” mà khiến mình cảm thấy thèm thuồng vì trong lời ca lại có chữ “xào lăn” trong khi mình nhìn lên TV thì thấy chữ “sầu lắng”.

Joshua Rothman writes for the New Yorker:

Today, the nature of reading has shifted. Plenty of people still enjoy traditional books and periodicals, and there are even readers for whom the networked age has enabled a kind of hyper-literacy; for them, a smartphone is a library in their pocket. For others, however, the old-fashioned, ideal sort of reading—intense, extended, beginning-to-end encounters with carefully crafted texts—has become almost anachronistic. These readers might start a book on an e-reader and then continue it on the go, via audio narration. Or they might forgo books entirely, spending evenings browsing Apple News and Substack before drifting down Reddit’s lazy river. There’s something both diffuse and concentrated about reading now; it involves a lot of random words flowing across a screen, while the lurking presence of YouTube, Fortnite, Netflix, and the like insures that, once we’ve begun to read, we must continually choose not to stop.

This shift has taken decades, and it’s been driven by technologies that have been disproportionately adopted by the young. Perhaps for these reasons, its momentousness has been obscured. In 2023, the National Endowment for the Arts reported that, over the preceding decade, the proportion of adults who read at least one book a year had fallen from fifty-five per cent to forty-eight per cent. That’s a striking change, but modest compared to what’s happened among teen-agers: the National Center for Education Statistics—which has recently been gutted by the Trump Administration—found that, over roughly the same period, the number of thirteen-year-olds who read for fun “almost every day” fell from twenty-seven per cent to fourteen per cent. Predictably, college professors have been complaining with more than usual urgency about phone-addled students who struggle to read anything of substantial length or complexity.

I must also confess. It is hard for me to read a long book these days.