| Title | OBRA TYPE FACE |
| Brand | AYALA MUSEUM |
| Product / Service | IMAO |
| Category | A06. Overall Aesthetic Design |
| Entrant | WUNDERMAN THOMPSON Makati City, THE PHILIPPINES |
| Idea Creation | J. WALTER THOMPSON PHILIPPINES Makati City, THE PHILIPPINES |
| Production | WUNDERMAN THOMPSON Makati City, THE PHILIPPINES |
| Name | Company | Position |
|---|---|---|
| Golda Roldan | Wunderman Thompson Philippines | Manging Director |
| Dave Ferrer | Wunderman Thompson Philippines | Chief Creative Officer |
| Brandie Tan | Wunderman Thompson Philippines | Executive Creative Director |
| Villarica Manuel | Wunderman Thompson Philippines | Art Director |
| Albert Millar | Wunderman Thompson Philippines | Copywriter |
| Eugene Sucayan | Wunderman Thompson Philippines | Project Manager |
| Kriss Luciano | Wunderman Thompson Philippines | Creative Service Associate |
| Carol PeBenito | Wunderman Thompson Philippines | Agency Producer |
| Michael Gonzales | Wunderman Thompson Philippines | Digital Imager |
| Ferdinand Ortiz | Wunderman Thompson Philippines | Digital Imager |
| Christopher Cristobal | Wunderman Thompson Philippines | Digital Imager |
| Mico Laeno | Wunderman Thompson Philippines | Creative Technologist |
| Geoffrey Estevez | Wunderman Thompson Philippines | Illustrator |
| Aldrin Alejandro | Wunderman Thompson Philippines | Editor |
THE OBRA TYPEFACE. Forgotten National Artists Remembered Through Type. Each typeface is named after a Filipino National Visual Artist, and each character is designed according to their art style. The first one to launch was the Imao Obra Typeface. It featured Imao’s signature style that featured the sarimanok (a mythical bird), fishes, the moon, and many other Muslim motifs. In the future, many more National Artists will also be featured as a part of Obra Typeface. The font is available for anyone to use and can be downloaded at www.obratypeface.com Everyone is free to apply the font, wherever they please. By doing so, the works and names of each artist will enter into the mainstream, familiarizing many with the artists.
The team dissected the design elements of Imao’s work—its intricate curves, ethnic motifs, and Muslim inspirations. Each element was incorporated into the characters—letters, numbers, signs. The result is a typeface that embodies the essence of Imao’s craft. An elegance rooted in immense cultural value. Obra Typeface was launched online on obratypeface.com, free for anyone to use. It was supported by a series of social media posts from Ayala Museum to attract artists to download the font. Many artists picked up the typeset and created designs based around it, helping raise the awareness of Imao’s name and craft.