Zloy is so fat that the counters disappear in the lowercase, and triangular counterforms instead of them appear where you don’t expect. The typeface turns into a complicated ornament with expressive textures when it’s set tightly.
Zloy is not good at small sizes, but works great with effects and allows for experimenting with shadowing, outlining, decoration. For those who are not ready for independent experiments, there is the Vey style with embedded inner borders.
Despite its powerful and recognisable personality, Zloy easily fits into contexts; and, if Vey screams to be used on the cover of The Rite of The Spring libretto (or for the initial letter of the book of stories by Edgar Poe), the regular style might end up in the design of a white cube art show.
Booklet for Tomi Here exhibition in The Back Room gallery, design by Valenlim Studio
The author of Zloy is Daria Petrova, graduate of the Moscow University of Printing Arts, HTW Berlin, FHP Potsdam and Type & Media course; she lives and works in Berlin. After six years of work at LucasFonts, Daria became a type designer with Swiss Typefaces. She designs low-profile, versatile typefaces during the day, while at night explores Macabre and does personal independent projects such as brutal Zangezi Sans.