VENDIA Modular Display Typeface
Date
Categories
Typeface
Systems
Display
Brief
The brief called for an original typeface built on a clear, repeatable system. It started with a design intent and a set of control letters. These grew into a full uppercase alphabet in a single weight, drawn as vector shapes in Illustrator. The challenge was holding every character to one grid without the forms turning blocky or samey. The finished typeface was to be presented as an A1 specimen poster and a Behance showcase.
Outcome
The result is VENDIA Display, an uppercase modular sans serif. Counters come from the grid’s inner circles, and vertical stress, pinched crossbars and subtle stroke contrast give it a distinct rhythm. Alongside the 26 letters, 12 ligatures join character pairs through shared, overlapping forms. It is designed for display use, such as posters, signage and abstract branding for niche businesses. An A1 specimen poster presents the full character set, and mock-ups on a lightbox and a hanging shopfront panel show how it could work in the street.
Process
The first of four pencil grids produced H, O and P, but they came out heavy. Later rounds doubled the divisions and added diagonals to improve the circular terminals and allow more unconventional letterforms. Testing BONEAXIS on the third draft exposed its limit: it couldn’t build a two-storey B. Overlaying two grids into a vertical Venn diagram solved this and gave the typeface its name.
Process
The first of four pencil grids produced H, O and P, but they came out heavy. Later rounds doubled the divisions and added diagonals to improve the circular terminals and allow more unconventional letterforms. Testing BONEAXIS on the third draft exposed its limit: it couldn’t build a two-storey B. Overlaying two grids into a vertical Venn diagram solved this and gave the typeface its name.
VENDIA Modular Display Typeface
Date
Categories
Typeface
Systems
Display
Brief
The brief called for an original typeface built on a clear, repeatable system. It started with a design intent and a set of control letters. These grew into a full uppercase alphabet in a single weight, drawn as vector shapes in Illustrator. The challenge was holding every character to one grid without the forms turning blocky or samey. The finished typeface was to be presented as an A1 specimen poster and a Behance showcase.
Outcome
The result is VENDIA Display, an uppercase modular sans serif. Counters come from the grid’s inner circles, and vertical stress, pinched crossbars and subtle stroke contrast give it a distinct rhythm. Alongside the 26 letters, 12 ligatures join character pairs through shared, overlapping forms. It is designed for display use, such as posters, signage and abstract branding for niche businesses. An A1 specimen poster presents the full character set, and mock-ups on a lightbox and a hanging shopfront panel show how it could work in the street.
Process
The first of four pencil grids produced H, O and P, but they came out heavy. Later rounds doubled the divisions and added diagonals to improve the circular terminals and allow more unconventional letterforms. Testing BONEAXIS on the third draft exposed its limit: it couldn’t build a two-storey B. Overlaying two grids into a vertical Venn diagram solved this and gave the typeface its name.
Process
The first of four pencil grids produced H, O and P, but they came out heavy. Later rounds doubled the divisions and added diagonals to improve the circular terminals and allow more unconventional letterforms. Testing BONEAXIS on the third draft exposed its limit: it couldn’t build a two-storey B. Overlaying two grids into a vertical Venn diagram solved this and gave the typeface its name.
