I love typography. I prefer licensing new fonts over buying new clothes. I hardly wear new clothes, but I dress my websites in crisp, new typefaces whenever I can.

Yesterday, I typeset my personal blog in Job Clarendon, designed by Bethany Heck and David Jonathan Ross. It was the first time I used a slab-serif typeface for text. Since Job Clarendon Text, which David sent out a couple of weeks ago to his Font of the Month Club members, has a slightly lighter weight, I increased the font size for readability. Then again, I’ve always wanted the text on my blog to be a bit larger by default.

For the blog titles and headings, I used the variable display version of Job Clarendon. To keep the typographic system in the same family, I used Input Mono, also designed by David, for the dates and code samples. I hope you will enjoy reading my old blog in the new text face.

The main text for my blog was set in Euchre, designed by Jackson Showalter-Cavanaugh. I would like to use Euchre for my professional portfolio site, but I didn’t want to use the same typeface on both places. After switching my blog to Job Clarendon, I could use Euchre for my portfolio. Since Euchre is a sans-serif text face, I needed a serif display face to complement it. I ended up with Aneto, designed by Veronika Burian, José Scaglione, Azza Alameddine, and Roxane Gataud.

To showcase my UX design, I was searching for a beautiful, readable sans-serif text face and Euchre fulfilled my needs. I could have used Inter, but I wanted to stand out, not in. I am not knocking Inter. In fact, I give Rasmus Andersson tons of props for making Inter ubiquitous in the UX community, higher education, corporation, and everywhere else. As of this writing, Inter has been served 6.14 billion times through Google Fonts API just over the last week. Inter is featured in more than 1.20 million websites.

Let’s keep it real. Inter and many open source fonts are popular because they are free. It is insane to me that a website project could cost between $100,000 – $200,000, but we can’t license a commercial font family. As a designer, I support small, independent type foundries. If I came across a typeface that I liked, I would license it without any hesitation if it had Vietnamese diacritics. My only requirement for choosing any typeface is the support for Vietnamese. Check out my growing list of typefaces that can set in English, Vietnamese, and many more languages.

Kris Sowersby writes about American Grotesk:

It is fantasy to hope that a typeface can undo the damage of an era that introduced the concept of fake news. One can only hope that truth centres itself over time, and isn’t destroyed in the maelstrom of the present. American Grotesk can’t turn back the post-truth tsunami, but can at least stand for the same honest values as Franklin Gothic.

American Grotesk supports over 200 languages, but not Vietnamese.

Berkeley didn’t go crazy like GM. Its wordmark has been updated for legibility while maintaining its connection to the Goudy typeface. For its typography, however, Berkeley opted for Inter and Source Serif, two open source typefaces. They should have licensed some commercial typefaces. Here’s a great list.

The unveil of George Mason new logo was bad, the rollout gets worse. Its typography is all over the place.

Acumin Pro and Kandal are for printing. Figtree, Open Sans, and Noto Serif are for the web. Poppins and Noto Serif are for Canva. Franklin Gothic and Cambria are for Microsoft Office. Why do we need two sans-serif faces (Figtree and Open Sans) for the web? Why not just two typefaces (Acumin Pro and Kandal) across all platforms?

What a mess.

A few weeks ago, I asked my wife if she loves me. I was half joking, half curious. She didn’t give me a straight answer; therefore, I asked her if she trusted me. She said “yes” without any hesitation. I can live with that.

If our marriage depended on love, we might not lasted to this day. Love is like a faucet. It turns off and on. Once the romantic period was over and reality kicked in, love could turn into hate.

Fortunately, our relationship has built on trust. We trust each other enough to stay together. Trust is the foundation of our marriage. If our trust was broken, everything we had built together would have collapsed. As a result, we guard our trust with our lives.

We never had any financial conflicts between us because we trusted each other. We never had any infidelity issues because we trusted each other (“ain’t nobody humpin’ around”). Trust not only keeps us tight, but also frees us up so we can be independents. We never had to worry if one of us was up to no good. We trust that everything we do, we do it for our family, our kids, and our relationship.

Trust helped us weathered through many storms in our marriage. Even when we faced serious issues, trust prevented us from walking out of our relationship. If we could make it through the night, we trusted that we would see a brighter day.

This past year has been fantastic for us. We made peace—not war. Of course we still argued, but we made up quickly. We still stressed the hell out, but not because of our relationship. We got out more and socialized more. Meeting and getting to know other people made us appreciate each other. We gave each other space to do our own things once in a while. I could go skiing by myself or out drinking with my friends while she held down the parenting floor. In contrast, she could spend time with her family while I held down the parenting department.

This has been the best year of our marriage so far. It took a decade and a half for us to finally figured out each other. I hope we will do even better many years to come.

I love you and totally trust you. Of course, I always know you love me too. Happy sixteenth anniversary!

In my early days in American, early 90s, I listened to “I’d Love You to Want Me” many times from Vietnamese singers. I didn’t even listen to Lobo, the original songwriter and singer. My English was pretty bad, but I just loved lines, “The obligation that you made / For the title that they gave.” I didn’t know what “obligation” mean, but I just liked the sound of it. Here I am covering the tune myself.

Google is searching for a Staff Visual Designer. This full-time position is $168,000-$252,000 + bonus + equity + benefits. Sounds like a good deal. If you’re a designer, take a look.

I hadn’t listened to “How Can I Tell Her,” by Lobo, in a long time. In the early 90s, when I first came to America, I heard this tune covered by a handful of Vietnamese singers including Don Hồ, Trung Hành, Henry Trúc, and Kenny Thái. In fact, I hadn’t even listened to the original version by Lobo. At the time, I did not fully understand the story behind the lyrics because of my limited English. The Vietnamese version, sang by Don Hồ, was completely different.

A couple of days ago, I came across an acoustic karaoke version on YouTube and I could recall the melody. As I sang along, I realized the story was pretty fucked up. The guy was a cheater and he wanted to keep on cheating. He tried to convince the girl he was cheating with that he wanted to tell his wife about their infidelity, but he hadn’t done so because his wife still treated him well: “Whenever I’m discouraged / She knows just what to do / But girl, she doesn’t know about you.”

The music was so romantic and he knew exactly what to say: “How can I say ‘It’s you I think of’ / Every single night and day?” This guy is a damn-good cheater. I definitely couldn’t tell the story, but I tried.

A Corea-Fleck collab? Get the fuck outta here. As expected, the dynamic duo come out swinging right off the bat on “The Otter Creek Incident.” The jazz-meets-folks and piano-meets-banjo are just exhilarating to the ears. Corea and Fleck had their own idiosyncrasy and when they teamed up, they pushed “Bemsha Swing,” a composition from an eccentric legend, even further out. I will be spending even more time with this double album.

Simplexpression is my wife’s online jewelry store. Since the initial launch in 2009, I worked closely with her on the branding and the site design and development.

Over the years, I kept refining the wordmark. I wanted it to be simple yet somewhat expressive. Yet I hadn’t quite got there until the latest redesign.

The new wordmark combines Poetica and Adobe Kis, both typefaces designed by Robert Slimbach. Adobe Kis is simple and elegant. Poetica adds a bit of flare to Adobe Kis. Since they were both designed by Slimbach, their proportions and structures matched effortlessly.

I am happy with the new wordmark. I finally found what I had been looking for so many years.