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Typically, the VIS elements have been considered as static and associated with prescribable visual mandates; however, the hypermodernity paradigm boosted the notion of mobility in everything \u2013 and brands are no exception. Brand logos now change in shape, colour, wear different textures and sit on top of a variety of backgrounds. All this incredible flexibility has implications for their typographical elements too. In the empirical part of this research, 50 dynamic logos were selected, grouped according to Van Nes\u2019 categories in Dynamic Identities: How to Create a Living Brand (2012) and the changes in their typographic components were analysed under the Multilingual Typeface Anatomy Terminology framework (Amado, 2012), firstly by the researchers, and then by a group of independent coders. It was verified that dynamic logos present a consistent pattern regarding typography since they preserve consistency through type\u2019s structural axes. This result led to a set of recommendations for both designers working with type in the context of the (re)design of dynamic logos, and academics preparing the next generation of brand designers. This research aimed at identifying the typographical inroads in brands with dynamic logos and is a relevant contribution to the perception of how the anatomy of type can define visual consistency.<\/jats:p>","DOI":"10.1177\/1470357220966775","type":"journal-article","created":{"date-parts":[[2020,12,23]],"date-time":"2020-12-23T02:38:25Z","timestamp":1608691105000},"page":"146-170","update-policy":"https:\/\/doi.org\/10.1177\/sage-journals-update-policy","source":"Crossref","is-referenced-by-count":17,"title":["Typography: the constant vector of dynamic logos"],"prefix":"10.1177","volume":"21","author":[{"ORCID":"https:\/\/orcid.org\/0000-0003-4402-8876","authenticated-orcid":false,"given":"Catarina","family":"Lelis","sequence":"first","affiliation":[{"name":"University of West London, UK"}]},{"given":"Sandra","family":"Leit\u00e3o","sequence":"additional","affiliation":[{"name":"Freelance Graphic Designer, Portugal"}]},{"given":"\u00d3scar","family":"Mealha","sequence":"additional","affiliation":[{"name":"University of Aveiro, Portugal"}]},{"given":"Ben","family":"Dunning","sequence":"additional","affiliation":[{"name":"University of West London, UK"}]}],"member":"179","published-online":{"date-parts":[[2020,12,22]]},"reference":[{"key":"bibr1-1470357220966775","volume-title":"Building Strong Brands","author":"Aaker D","year":"1996"},{"key":"bibr2-1470357220966775","volume-title":"III Encontro de Tipografia","author":"Amado P","year":"2012"},{"key":"bibr3-1470357220966775","volume-title":"Linked: The New Science of Networks","author":"Barab\u00e1si A-L","year":"2002"},{"key":"bibr4-1470357220966775","doi-asserted-by":"publisher","DOI":"10.1108\/13563281111100971."},{"key":"bibr5-1470357220966775","volume-title":"Type in Motion","author":"Bellantoni J","year":"2000"},{"key":"bibr6-1470357220966775","volume-title":"La marca corporativa: gestion y dise\u00f1o de simbolos y logotipos","author":"Chaves N","year":"2003"},{"key":"bibr7-1470357220966775","doi-asserted-by":"publisher","DOI":"10.1207\/S15327663JCP1202_03"},{"key":"bibr8-1470357220966775","volume-title":"Brand Taboos","author":"Coelho C","year":"2007"},{"key":"bibr9-1470357220966775","volume-title":"La imagen de marca: un fen\u00f3meno social","author":"Costa J","year":"2004"},{"key":"bibr10-1470357220966775","doi-asserted-by":"publisher","DOI":"10.1509\/jmkg.75.4.86"},{"key":"bibr11-1470357220966775","volume-title":"What Is Branding?","author":"Healey M","year":"2010"},{"key":"bibr12-1470357220966775","volume-title":"Basics Typography 01: Virtual Typography","author":"Hillner M","year":"2009"},{"key":"bibr13-1470357220966775","first-page":"5573","volume-title":"IASDR 2013 Conference","volume":"1","author":"Ho AG","year":"2013"},{"key":"bibr14-1470357220966775","unstructured":"Jochum E (2013) Dynamic branding: How flexible design systems turn brands into dynamic visual identities. 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