A.A. Trabucco-Campos and Matteo Bologna brand Glyphs 3 in a showcase of typographic possibility
Brooklyn-based graphic designer A.A. Trabucco-Campos has teamed up with Mucca Creative Director and fellow New Yorker Matteo Bologna in a powerful collaboration for the branding of Glyphs 3; the third edition of the renowned go-to software for contemporary type design.
The dynamic-duo have re-energised the software’s identity, injecting a sense of vigour and confidence into its collateral, as well as translating Glyphs’ intentions and offerings in a way that is both vibrantly shrewd and intelligently reserved – from a comprehensive website that showcases Glyphs’ community, as well as its software and tutorials, to a refreshing simplified wordmark.
Ingeniously, the team chose ABC Dinamo’s unreleased variable typeface ABC Arizona from the electrifying mind of Elias Hanzer; a typeface that not only represents and showcases what is technologically possible and aesthetically arresting in the contemporary typographic scene, but is also the result of something entirely drawn on Glyphs’ software.
The variable typeface in question can be set on a sliding scale from sans serif to serif, in a remarkable feat of typographic engineering and a testament to what can be achieved on the software. “For the identity, we were looking for a typeface that covered a wide range of typographic styles and expression,” Trabucco-Campos tells us, “which would be a shorthand for many of the things you can do within Glyphs.”
Falling in love with Hanzer and ABC Dinamo’s Arizona, Trabucco-Campos gushes about the capabilities of the typeface and the aptness it has for the brand. “The final typeface is stunning at every instance – especially in some of the mix stages, where sans becomes serif,” he explains, “the wide range of typographic options are useful for differentiating content blocks, typesetting long articles and creating visually impactful typographic moments;” a typeface that is, in essence, the solution to any identity, editorial or web-based problem.
Beginning during the COVID-19 pandemic, Trabucco-Campos recalls how the project was created and produced entirely remotely, adding that “since this was a side project for both, the bulk of the work happened during the weekend,” using Sunday’s as check-ins whilst doing the majority of the grafting on the day before. Working online, their studio space became virtual; telling us “a big part of the identity was articulated through the website redesign,” noting, “so our main environment was Figma, which enabled ease of collaboration and communication.”