A new class of foundry: Studio DRAMA brings a fresh, brand-first perspective to custom type design

A lot’s been happening at Studio DRAMA lately. The London-based design studio – armed with the technical excellence of a type foundry – has been crafting custom typefaces for brands, letting them tell their stories through the power of typography. They did so for Glamour Brasil, Vogue Brasil, and now, for the largest animal welfare charity in the world, RSPCA. With every project, Studio DRAMA has been inching closer to a new phase in their creative journey – one where they function as ‘type directors,’ sculpting custom typefaces utilising both their experience in branding and their knowledge and expertise in type design. This has marked a decided shift in their business, as they position themselves as a new class of foundry, where the brand and its vision sit at the heart of each project. “We approach type design projects with a brand-centric perspective,” Co-founder William Richardson explains. To peel back the layers of their process, we spoke to Richardson and Co-founder Chris Nott about the making of the custom typeface for RSPCA, while they charted the exciting new direction that introduces them as the ‘creative’s partner in type.’

RB Hi Chris and William! Have things been busy lately at Studio DRAMA?

WR Yes, things have indeed been busy at Studio DRAMA! We’ve felt a big shift in our business over the last 12 months, which has come from leaning into our positioning as the ‘creative’s partner in type.’ Award recognitions by D&AD, Tokyo TDC and BIA have been the cherry on top too! 

This has initiated some exciting collaborations with creative teams from the likes of DesignStudio, Vogue, and Jones Knowles Ritchie (JKR) to name a few; through our project with JKR for the rebrand of RSPCA, we launched RSPCA Wilberforce Sans, the custom typeface we designed for the organisation.

We take pride in our research-driven approach.

RB Speaking of, congratulations on that rebrand! Could you tell us a bit about the kind of research the making of the custom typeface called for? Where did the process lead you?

CN Thank you! Our research for the RSPCA custom typeface was thorough, delving deep into the organisation’s rich history, values, and visual identity. As an iconic British institution, our exploration led us to investigate British typefaces and protest signage, while also drawing inspiration from classic RSPCA communications, all of which were essential to ensure authenticity and relevance.

We take pride in our research-driven approach to every project we undertake. This ensures that each project is not only authentic to the brand but also aligns perfectly with the brief.

RB In what ways is RSPCA’s typographic history reflected in the new typeface? Could you take us through some of the details?

CN You can see the typographic history of RSPCA reflected in various elements. For instance, the typeface draws inspiration from British grotesque typefaces, such as Stephenson Blake’s Grotesque No.9, which includes characterful enclosed terminals and apertures reminiscent of old RSPCA wordmarks and signage. The uppercase letterforms pay homage to the bold, impactful characteristics of protest signage, emphasising the brand’s longstanding history of activism and advocacy for animal welfare.

In addition, we incorporated subtle variations in stroke widths to infuse a human touch, drawing inspiration from techniques found in humanist typefaces. This human-centred approach was integral to both the brand identity and the project brief. Furthermore, we developed an extensive set of ligatures within the typeface to emphasise the interconnectedness between every individual and animal associated with the RSPCA. This echoes the organisation’s core focus on nurturing compassion and care for all beings.

RB What was the most challenging part of designing Wilberforce Sans?

CN Crafting Wilberforce Sans was a journey filled with creative challenges. We faced the task of incorporating various elements into a relatively concise typeface. This included the delicate balance of aligning it with the new brand positioning while honouring its rich brand heritage. We had to ensure the RSPCA could communicate with authority while remaining accessible. Additionally, it was important for us to establish connections between the new illustration style and the societal values, by evoking a sense of humanity and fostering connection throughout. Above all else, it needed to be distinct, ensuring it stood out and effectively communicated the RSPCA’s message.

We are proud of our ability as a studio to act as the ‘type department.’

RB How important is the aspect of collaboration when creating a custom typeface for a brand, especially when you’re working with another agency – such as Jones Knowles Ritchie (JKR), in this case? Were there aspects of the project that were inspired by conversations between all the teams (which perhaps wouldn’t have been possible if you were working on it alone?)

WR Collaboration is essential when creating a custom typeface for a brand, especially when working with another agency like JKR. The insights and perspectives from both teams enriched the creative process and ensured that the typeface aligned perfectly with RSPCA’s brand vision.

Something we are really proud of is our ability as a studio to almost act as the ‘type department’ of that business. With our understanding of the branding process, we see ourselves as effectively another member of the agency/creative team.

The gatekeeping era has passed; we view design not merely as a job, but as a way to foster relationships. We aim to make every collaboration as enjoyable and accessible as possible. We believe that type design doesn’t need to be as over-complicated as it may appear. Every idea holds merit, and more often than not, it’s feasible to bring them to life.

RB We’re curious, at which point do you usually get involved in the branding process?

WR Typically, we have two main points of entry into the process. We can either get involved right from the beginning, where we help craft the brief and create custom type directions that align closely with the new brand concepts. Alternatively, we can join more traditionally towards the end of the process, once the typographic direction has been set and signed off.

We strongly believe that being part of the process from the initial concepts stage is highly beneficial. It allows us to bring the client along on the journey, demonstrating the importance and benefits of having a custom typeface tailored specifically to their brand. This approach not only fosters collaboration but also ensures that the final result truly reflects the brand’s identity and vision.

RB To neatly tie up the project, you also commissioned a set of woodblock type that served as mementoes for both JKR and RSPCA. We loved that detail! What sparked this idea?

CN The idea of commissioning woodblock type as mementoes stemmed from our desire to create a tangible symbol of the collaboration between Studio DRAMA, JKR, and RSPCA. It felt like a 360° opportunity we couldn’t miss, with so much woodblock type being used as a reference in the inception of the typeface. It carries a sense of craftsmanship and tradition, mirroring the care and attention we put into crafting Wilberforce Sans.

RB Was the idea of crafting a typeface for a brand with such a storied history intimidating at all?

CN It was indeed a daunting task, but it was also incredibly rewarding. We approached the project with reverence for RSPCA’s legacy and a commitment to creating a typeface that honoured their heritage while positioning them for the future.

RB Talking about big clients, you’ve also created custom typefaces for Vogue Brasil and Glamour Brasil. Do you go looking for these projects or do they have a way of finding you?

WR Both! We actively seek out projects that align with our expertise and passions, but we also find that our reputation in the industry attracts clients seeking bespoke type solutions.

Collaborating with iconic brands like Vogue Brasil and RSPCA has been a privilege and a testament to our commitment to excellence in type design.

We approach type design projects with a brand-centric perspective.

RB For emerging designers who hope to do what you do for a living, could you give us a peek into what happens post-delivery of a custom typeface? Do you still work closely with the brand to offer any technical support they might need?

CN Absolutely! Post-delivery of a custom typeface, we continue to work closely with the brand or agency to provide technical support and ensure seamless integration across their teams. We also offer guidance on typographic usage and provide updates or modifications as needed. Language extensions are a very common request, as brands expand in certain regions.

RB You’ve talked about how at Studio DRAMA you combine the storytelling of a branding agency with the technical expertise of a type foundry. What lends you this creative edge?

WR We’ve worked at the biggest and best branding agencies in our careers, so we understand how to deliver branding services. We leverage that knowledge alongside our technical skills to create custom typefaces that truly resonate with audiences and elevate brand identities.

Drawing from our background, we approach type design projects with a brand-centric perspective. We consider how the typeface should function – whether it needs to be inspired or influenced by the brand, aligning it with either a new or existing positioning. What is its role – should it be distinctive in display, yet functional and hardworking in text?

We understand that there are numerous approaches to type design. However, actively participating in the delivery and rollout process of brand identities has provided invaluable insights into what it truly takes to craft a future-proof typeface. As both brand and type designers, we bring a unique brand-led perspective to the project. It’s this additional level of strategic thinking that, we believe, sets us apart.

RB Could you give us a peek into the projects in progress at the studio? What can we expect to see in the coming months and what are you most excited about?

WR We have several exciting projects in progress at the studio, including collaborations with leading brands and agencies. When we first set out building this business, we never thought we’d get the opportunity to work on the brands we are working with this year. We can’t wait to share our next BIG one in the second half of this year.

Studio DRAMA