Czech designer Tomáš Brousil catered to all the popular trends with his 2007 releases: BistroScript as the contempo-retro brush script, Purista as the spare/square sans, and even a typeface to jump on the Fat Font Fad. Brousil’s obvious embrace of “what’s hot” could be called pure opportunism … if the stuff wasn’t so skillfully executed.
The ultimate case-in-point is Gloriola, a sans serif that hits a sweet spot between the pared-down coolness of Luc(as) de Groot’s monolinears and the lively warmth of recent faces from young Latin designers and Xavier Dupré. It succeeds in being a typeface of the now, without resorting to trendy gimmicks or ornamentation.
With a broad range of weights, a complete Western character set, and a sack of ligatures and alternates, Gloriola has the depth required for complex identity systems and publication design. This shrewd response to the fashions of today is going to be useful for many years to come.
Stephen Coles is editor of Typographica and Fonts In Use, and hoarder of mid-century modern eye candy. He is currently seeking the perfect cat and a personal assistant to take dictation and keep his papers in order. The same applicant may fill both positions.
Bears a striking resemblance to Hoefler’s Whitney.
Hmm, I don’t think it’s any closer to Frere-Jones’ Whitney, than Whitney is to Trade Gothic. Each is original in their own right.
Of course, if you meant it as a compliment, I concur.
Gloriola was just integrated as the typeface for the rebranding of Channel Five in the UK.
Gloriola is now back on the market after the conclusion of an exclusive license to Morgan Stanley.