Architectural lettering needs to respond to the function of a building, its design and the materials of construction. The range of modern building from the transitory nature of shops to the permanent requirements of major public buildings, demands a variety of responses. A good building title not only yields the name but should also give a sense of place through the visual impact of the design instead of the ubiquitous and currently fashionable typeface bolted onto the elevation. Typefaces for titling should be avoided as they are inappropriate when greatly enlarged. It has to be remembered that type is carefully designed for a very different scale and environment, the printed page. The aim in type design is for it to be legible and unobtrusive. If it is too beautiful or interesting on the page, its purpose is defeated. An exception to this is general signage where an appropriate typeface can be used. The choice is wide and a suitable face corresponding with the use and ambience of a building can usually be sourced.

Lettering on building is of a different order. It becomes part of the architecture and therefore has a more active voice. Signs on buildings have many functions and levels of authority, even tones of voice. Kindersley believes that to be effective, lettering requires the same range of expression as the spoken work: it may be amusing, sometimes bold or austere and at other times, simply beautiful.

Richard Kindersley will always look closely at the materials of construction and if appropriate use them to make the letterforms. This produces a positive relationship of lettering with the architecture. The great advantage Richard Kindersley has is his extensive knowledge and experience in working directly with a wide range of materials. This allows him the confidence and freedom of designing in a wide variety of materials including brick, concrete, glass, steel and stone  >