Right before midnight yesterday, I whipped out my credit card and purchased a web license of Exchange, designed by Tobias Frere-Jones. I have always wanted to feature Exchange in Vietnamese Typography and yesterday was a good time to buy for a good cause. Frere-Jones will donate 100% of net license sales to RAICES to help bring families together.
Haven’t blogged in the last several days because I have been focusing on the second edition of Vietnamese Typography. I have thought about this project for a while. Should I leave the book as it or revise it? Doing a major update will require a chunk of my time to devote to the project. I tempted to leave the website as it, but I know I can make it better. I have lots of ideas on how to improve it. I love to be able to just work on it, but I have a family with three young boys and another one coming soon. As a result, my time is limited.
I love this project even though it does not make me any money. It brought me some consultant gigs, but they aren’t much either. My real joy is seeing new typefaces with Vietnamese. From my interaction with designers and what I have found online, this book has been useful. I came across several mentions of the book.
James Puckett writes for I Love Typography:
I also added support for Vietnamese, using Donny Trương’s book Vietnamese Typography as my guide. Vietnamese uses stacked diacritical marks on some vowels, so I had to carefully balance the weight of each mark to work in single mark letters and Vietnamese…. Designing the Vietnamese marks improved my skills designing marks, making this the best collection of diacritical marks I’ve ever produced.
Florian Hardwig writes for Font In Use:
For those interested in proper Vietnamese typography, Donny Trương provides a good introduction, including an overview of the letters with diacritics that are actually used for marking tonal distinctions in this language.
TypeTogether writes about the extension of Adelle Sans:
A good starting point to better understand the history and the typographic challenges of Vietnamese is Donny Trương’s online book Vietnamese Typography.
I stumbled into this really interesting and informative site about Vietnamese typography while researching localization and character support for a project. So well done, I wish there was a guide like this for all languages and character sets.
If you find this book is useful, please consider supporting my efforts to make it an even better resource for the type community. You can contribute $10, $5, or $1. Any amount will help.
My goal for the first edition of this book was to expand and enrich the quality of Vietnamese typography. In the last two years since the book published, I am thrilled every time a new typeface released with the Vietnamese language.
Many type designers have used this book to help them understand Vietnamese’s unique typographic features. Even though most of them do not speak or write the language, they have gained insights into subtle details and nuances of the Vietnamese writing system through this book. As a result, they have more confidence in designing diacritics, which play a crucial role in legibility and readability of the Vietnamese language.
They understand that the design of the diacritics is as important as the letters. If the marks are too small, readers will have a difficult time distinguishing each word. If the marks are too large, the flow of text can be interfered. Without clear, proper diacritical marks, the reading experience can be disjointed and disrupted. When the marks are missing, readers have to slow down or stop to guess at words, which can distort, or obscure entirely, the original meaning of the text.
Since the release of this book in 2016, I have been fortunate to play a small role in advising type designers all over the world to make their typefaces appear natural and comfortable for Vietnamese readers. In interacting with them, I have gained more understanding of the issues and the confusions they faced when designing diacritics for Vietnamese. I have nothing but positive and supportive experiences working with type designers. I appreciate the caring and the attention they devoted into crafting Vietnamese diacritics. To show my appreciation to the type community, I have revised this book and expanded the illustrations to showcase new typefaces with the Vietnamese language.
You’re famous in some circles for that kind of perfectionism. And for more persistent kinds of perfectionism too. Minion had only been out for a couple of years when you rebuilt it as a multiple master typeface. And in 1999 or 2000, you made the first OpenType versions of Minion, folding the Latin, Greek, and Cyrillic, along with the ornaments, the small caps, and everything else into a single font. I studied those fonts pretty closely when they were released, and I was amazed and delighted by what I saw. There was phenomenal attention to detail. For example, all the diacritics were subtly redesigned and repositioned, made a little narrower and lifted farther up above the letterforms. I’m sorry to say it, but in the English-speaking world, most type designers don’t know or care very much about such details. And not everyone takes font upkeep and editing that seriously.
I agree with Bringhurst although I do see some improvements in designing diacritics. I always have tremendous respect for Slimbach for making his typefaces as accessible to many languages as possible. Minion is of his exemplary examples.
As I was browsing the Google Fonts directory, the name Vernon Adams popped all the time. He has designed 51 font families for Google. Out of curiosity, I wanted to find out more about him. Unfortunately, Adams died two years ago after a motor scooter accident. His father-in-law has written a short blog post about him and his work as a type designer. His legacy lives on as his unfinished fonts are continued to be worked on from other designers. Thank you and rest in peace, Adams.
Even though these fonts are works in progress, I have been able to put them to use on this blog (current headings are set in Rhododendron) as well as my own site (Bild and Roslindale Text). I must sound like a broken record, but Vietnamese support in a typeface is crucial to me. I am glad David has included Vietnamese diacritics in every Font of the Month. I wish more type designers would make Vietnamese support part of their work-in-progress fonts as well.
After eleven months with eleven fonts, I am still a happy member. If you love playing with types, you’ll definitely find values in being a member. If you’re a design student, this is a good way to impress your professor and classmates without putting a whole in your wallet. As much as I love classic typefaces, I am getting tired of seeing Akzidenz-Grotesk, Helvetica, and Univers in every packaging, branding, and web design. It’s time step up your student projects with new fonts.
I am looking forward to getting all the fonts on the first day of each months to come. Thank you, David.
The launching of Future Fonts is creating some buzz in the type community. The gist of it is that type designers offer their work in progress at a low price. Lizy Gershenzon explains its pricing model:
Future Fonts also makes financial sense for both type designers and buyers. Without devaluing the work, you can get typefaces at a cheaper price. This is because they are still in progress and don’t cost as much as their final releases. As more work is completed and new versions are added, the price goes up. Early buyers lock in at the cheapest rate and get free updates along the way. It’s a win, win, with extra incentive to buy typefaces early.
It’s a fascinating concept, but Future Fonts doesn’t work for me personally because the fonts do not have Vietnamese support. In a way, Future Fonts is similar to David Jonathan Ross’s Font of the Month Club, which I am a member, but David makes his fonts available in as many languages as possible and I really appreciate that.
Walter Nikkels, Depicted:
When a design is good, it objectifies seeing, it takes a distance from its maker, the design takes on a natural character, as though it had always been there. Conversely, when the design has not been entirely successful, it remains your design, in its failure to succeed completely remains incomplete, as it were, and does not want to separate itself from its maker. (He then becomes a culprit rather than a designer).
Typography is the backbone of graphic design. Virtually all specific tasks you deal with as a graphic designer were formulated in the history of book design. Typography is to graphic design what painting is to the visual arts: the top number. Beyond that I see two conceptual trends in history of typography: interpretive typography, which analyses the content and attempts to response to its design, and autonomous typography, which considers interpretation nonsense. According to the this second trend, typography should refer to itself.
As a young designer I noticed that modernist typography is easier to learn than classical typography, because its structure and decision process can be easily and objectively described, like in a schoolbook. Classical typography is tricky; it is a web of optical corrections. It requires a long training in looking and thinking.
Typography is nothing but representation and dignity. Unlike many of my younger colleagues I try to deal with images with an ethic and aesthetic derived from typography, rather than the other way around. Typography is concerned with the logic of reading, including the reading of images. A book is a narrative, a sequence of pages. The images too have to be narrated in a book. Displayed in a logical way and plausible way. Narration and display come together, related to each other. The illustration can be narrated and the text can be displayed. In my work the only thing that matters is the dignity with which this takes place.
Typography is a discipline of silence. Now and again it tries to be noisy, but that is almost always bound to fail, unless the loudness is called for, for example, a poster and sometimes in advertising.
The typography, the treatment of the text.
In the theory of typography, the intercharacter spacing and the interword spacing are considered essential for the quality of a text as a visual structure. That though is based on the classical canon of mutually harmonious relations between measurements and spacing.
Harold Evans, Do I Make Myself Clear?, (p.39):
Readability isn’t a literary or legibility issue. It’s a dispassionate, objective measure of whether a selection of words and sentences will be understood by the intended audience. Comprehension comes before enjoyment; you can’t be gripped if you can’t follow the narrative.
Typeface design is inherently multicultural.
In his ATypI 2017 presentation titled, “How NOT to Draw Accents,” David Jonathan Ross shares his approach to design diacritical marks. It’s an honest, inspiring talk and I hope more type designers will join him on this journey.
One of David’s methods of studying accents is traveling and looking at signages. My only concern with Vietnamese signages (both in the U.S. and Vietnam) is that most of accents were not part of the typeface. Because accents were added in afterward, they often appeared to be filling in, especially when the space of the signage is limited. One of my goals for Vietnamese Typography, which David mentioned in his talk, is to solve this issue.
I had the pleasure of working with David on Vietnamese accent for his fantastic Fit and I have been thrilled to see his monthly typefaces support Vietnamese. If you have not joined his Font of the Month Club, you are missing out. Six bucks for a display typeface that supports multiple languages is a steal. Even if you are a student in graphic design, it is a worthwhile investment to expand your type collection. Don’t limit yourself to Helvetica, Akzidenz-Grotesk, and Roboto.