Additionally, the family is packed with a set of 11 discretionary ligatures that can be used as ordinals, buzzwords, and more (These options can be found under “Stylistic Sets” and “Discretionary Ligatures” in the “OpenType” window respectively).VTF Gladius supports most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili, and Swedish. By default, these angular embellishments are disabled for standard styles and enabled for oblique styles. This phenomenon is even more apparent in oblique styles.Select letterforms also feature “speed cuts”, which are a customizable OpenType feature for the VTF Gladius family. This unconventional decision alludes to penmanship, with the lower strokes pooling the majority of the ink, creating a nice “bounce” that gives the letter that much more personality. This draws the eye through the letterform, left-to-right, making every word feel more dynamic.Further reinforcing the dynamic, the southernmost horizontal in each letterform is 10% thicker than the others. In circular characters, this sensation is demonstrated throughout the use of offsetting 45-degree corners and intersections built into the counters. Like many others, this display typeface began as an experiment of implementing characteristics that otherwise would be absent in a traditional chiseled athletic block face.VTF Gladius implements a system of angles and junctions in its letterforms that generate a distinct clockwise visual rhythm. VTF Gladius is the latest typographic endeavor from VarsityType. And that is why the above-mentioned daily will continue to be printed by a system version of Times, negligently adjusted to local conditions, which is unfortunately a far cry from the original Times New Roman of Stanley Morison. The typeface itself definitely profited from this I simplified everything which could be simplified, but it still was not “it”, because the other, and obviously more important, requirement of the investor held: “the typeface must look like Times”. A year later Lidové noviny had a different manager who in the spring of 2001 decided to resume the cooperation. The assignment, which was on the whole wisely formulated, was to design a typeface which would enable “a smooth flow of information in the reader’s eye”, therefore a typeface without any artistic ambitions, from which everything which obstructs legibility would be eliminated. The work, however, finally resulted in the complete re-drawing of the typeface. My task was to design a modification of the existing Times. Times with a Human Face: In my article of the same name which appeared in the magazine Font, volume 2000 I described the long and trying story of an order for a typeface for the Czech periodical Lidové noviny (People’s Newspaper).
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