The chapter on Type Recommendations has been revised and updated. I replaced a small illustration with a full type specimen for each typeface. Because of my limited access to typefaces online I only create specimen for fonts that I can access. I have to leave out typefaces that I don’t have license. On the other hand, I always wanted to add new typefaces to the list including Alda, Skolar, and Alegreya. With the addition of type specimen, I wanted to provide type designers more details about Vietnamese typography. If you would like to see something more added to the specimen, let me know. I also made some updates to the Samples.

Hôm thứ Năm tôi đưa đám nhỏ đi Eden Center cho mẹ nó làm việc. Tôi đeo thằng Xuân trước ngực thì có một em khoảng 20 (đi cùng đám bạn) không chào hỏi gì cả chỉ đến nựng ngay thằng nhỏ. Thấy em thích thằng Xuân tôi hỏi, “Em thích không? Mua một tặng thêm ba.” Chỉ thêm hai thằng anh ở đằng sau. Em trề môi bỏ đi.

Yi Ding, It’s My Type, (p.14):

People love seeing beautiful things, because it’s a spiritual enjoyment. There’s no right or wrong, pretty or ugly typeface. Typefaces themselves are like costumes, which are made for different roles and different sets. It is best only when it fits.

Panos Vassilious, It’s My Type, (p.12):

Good type design is an attempt to achieve the perfect balance between geometric perfection and optical perfection, a balance between our rational mind and our free-spirited artistic nature. It is exactly this attempt to achieve a visual balance using the rational modular shapes of the alphabet that drives me and excites me during the designing process.

We don’t just need good typefaces; we need typefaces that communicate better, typefaces that offer real market solutions, typefaces that sell products, typefaces that reflect local market trends and culture. There are already too many commercial fonts in the market. It is time for companies to seek bespoke solutions if they want to differentiate themselves from competitors.

Valery Golyzhenkov, It’s My Type, (p.10):

We need more good typefaces. Because they help the communication; that’s the most important part. A good typeface, along with good typography can deliver more than just information.

Patrick Griffin, It’s My Type, (p.8):

Typeface is the medium in which the content is delivered, so there’s a direct correlation there: If you don’t use an appropriate face for your content, you are indicating that you have little respect for your message—and that lack of respect makes its way to the reader.

Paul D. Hunt, It’s My Type, (p.8):

We need good typefaces for the same reason as we need anything that is well-designed—to inject more beauty into our life. Reading is a big part of interfacing with ideas and concepts and that process should be as comfortable and enjoyable as possible. Pleasing typefaces allow us to focus more intently on the content of a message and less on the form.

Celebrating 30 years of type design, the 752-page compilation of Emigre’s prolific work goes beyond the art of type specimen. The essays provide the designers’ approach and thinking process that go into their types. From Mrs Eaves to Tribute to Vista to Alda, you’ll appreciate the details of setting each of these exceptional typefaces.

A mundane conversation with our middle child.

Đán: May I play on the iPad?
Dad: No.
Đán: Fine, I don’t like you.
Dad: I know. I am a bad dad.
Đán: No, you are the worstest dad.
Dad: Am I that bad?
Đán: Yes.
Dad: OK, you can play on the iPad.
Đán: You are the bestest dad.

A big, beautiful coffee table book on typography begins with brief stories from ten type designers and ends with short articles and interviews. The huge chunk of this book showcases commercial typography. It’s nice to have for the office, but not required.