The following typefaces are recommeded for setting text in Vietnamese. Each type has been reviewed for flexibility, legibility, and readability.
Robert Slimbach’s Acumin is a neo-grotesque type with a family of 90 fonts. Its broad range of weights and widths combined with strong diacritics provide limitless Vietnamese typographic opportunities. Subheadings and table of contents on this site are set in Acumin. For more sans-serif typefaces with Vietnamese support designed by Slimbach, check out Myriad and Pelago.
Berton Hasebe’s Alda is a robust, elegant text serif. Each weight is specifically designed to be recognizable at large sizes and yet cohesive at small sizes. Above all, Alda has strong, beautiful supports for Vietnamese diacritics.
Juan Pablo del Peral’s Alegreya is a dynamic, harmonious text serif. With its unique characteristics and well-built support for diacritics, Alegreya is an ideal choice for setting literary works in Vietnamese.
Inspired by Edward Johnston’s and Eric Gill’s humanist sans, Impallari Type’s Cabin has modern proportions, optical adjustments, and elements of the geometric sans. While remains faithful to its roots, Cabin has its own personality and a set of prominent diacritics for the Vietnamese language.
Alfonso García’s Faustina is a robust serif family designed for print and online editorial typography. Its clear, sturdy diacritic marks are essential for reading text in Vietnamese.
Łukasz Dziedzic’s FF More has an extensive family of 48 fonts. Its solid serifs, considerate contrast, and distinguishable diacritics are essential for typesetting in Vietnamese.
Led by Carrois type foundry based in Berlin, Fira Sans is an open source typeface for Firefox OS. It was designed to render on mobile devices with various resolutions. Its diacritics were also carefully crafted to be legible on different screen qualities. Ideal for screen-based apps and websites in Vietnamese.
Robert Slimbach’s Garamond Premier is a stunning reinterpretation of Claude Garamond’s romans and Robert Granjon’s italics. With the marriage of these two distinctive styles, Slimbach has crafted a harmonious yet unique typeface for continuous paragraphs as well as large headlines. With clear teardrop horns and elongated diacritical marks, Garamond Premier is an elegant choice for typesetting Vietnamese literary projects. The main text on this site is set in Garamond Premier. For more serif typefaces with Vietnamese support designed by Slimbach, check out Adobe Text, Arno, Minion, and Ten Oldstyle.
James Todd’s Garvis was designed for sturdiness, legibility, and linguistic support. Its subtle but strong diacritics work well for print and online Vietnamese publications.
Inspired by Futura, Jonathan Hill’s Halcom aims to strike the balance between geometric precision and optical accuracy. With simple diacritical features, Halcom is an excellent choice for setting clean and modern Vietnamese typography.
Joshua Darden’s Halyard is a grotesque sans with historical forms drawn from Schelter+Giesecke, Miller and Richard, and Morris Fuller Benton. Its superfamily—including micro subfamilies designed by Darden, Eben Sorkin, and Lucas Sharp—and robust diacrictics provide flexible Vietnamese typography system that works at any size.
Jacques Le Bailly’s Nunito Sans is an extension of Vernon Adams’s Nunito, which is a beautiful, well-balanced, and rounded sans serif. With legible dicritics, Nunito Sans is a welcoming expansion for Vietnamese typography.
Tobias Frere-Jones’s Retina is recognized as a milestone in type design for its idiosyncrasy yet practicality. By using MicroPlus—applying hinting and experimenting with proportions—Frere-Jones and his team designed Retina to be read on various screen devices as well as paper at the tinest sizes. Its modest support for diacritics makes Retina an economical yet flexible choice for Vietnamese fine print and digital typesetting. For more sans-serif typefaces with Vietnamese support designed by Frere-Jones, check out Mallory.
David Březina’s Skolar is a robust serif family designed to solve complex text settings. Its generous x-height, low-contrast modulation, and sturdy diacritics are ideal for typesetting works of scholar in Vietnamese.
Paul D. Hunt’s Source Sans is Adobe’s first open source type family. Drawing from the simple forms of News Gothic and Frankly Gothic, Source Sans is designed for short UI labels as well as long paragraphs. With legible diacritical marks, Source Sans is suited for setting Vietnamese text on the web.
Production Type’s Spectral is a versatile serif family designed specifically for immersive reading on screen. Incorporating Prototypo’s parametric font technology, Spectral is developed with responsive characters to work seamlessly across multiple devices. Spectral’s subtle yet distinguishable diacritics make it a great choice for Vietnamese online publications.
Friedrich Althausen’s Vollkorn is a bread-and-butter serif text face. Its sturdy serifs and legible diacritics are suitable for Vietnamese long-form reading including books and online essays.