Visual identities can be constructed from a number of elements which together can be described as the Visual Identity System (VIS). Typography is one of the VIS’s central elements. 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 – 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’ 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’s 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.

视觉标识可以由许多要素构成，这些要素可以一起描述为视觉标识系统（VIS）。排版是VIS的主要元素之一。通常，VIS元素被认为是静态的，并且与可指定的视觉命令相关联；但是，超现代性范式提倡了一切事物的移动性概念-品牌也不例外。品牌徽标现在可以改变形状，颜色，穿着不同的纹理并位于各种背景之上。所有这些难以置信的灵活性也对其印刷元素产生了影响。在本研究的实证部分中，选择了50个动态徽标，并根据Van Nes在“动态身份：如何创建鲜活品牌”中的类别进行分组。（2012）及其印刷成分的变化是在多语言字体解剖学术语框架（Amado，2012）下进行的，首先由研究人员，然后由一组独立的编码人员进行。经验证，动态徽标在字体方面呈现出一致的样式，因为它们可以通过字体的结构轴保持一致性。这一结果为在动态徽标（重新）设计的背景下从事文字工作的设计师和准备下一代品牌设计师的学者们提出了一系列建议。这项研究旨在识别具有动态徽标的品牌在印刷方面的影响，并为人们对类型解剖结构如何定义视觉一致性的认识做出了重要贡献。