Exploring Modernist Aesthetics: The Polin Sans Typeface

For years, my mind has been consumed by the quest to design a type family that delves into the essence of modernist aesthetics. Drawing inspiration from the iconic Alphabet "a.r." crafted by Władysław Strzemiński, I embarked on a journey to reimagine the pre-war Warsaw multiscript. Thus, the concept of Polin Sans was born.

My exploration led me to delve into the geometric nuances of the Cyrillic alphabet, sparked by the enlightening text "Towards an open layout: A letter to Volodya Yefimov." It dawned on me that circular forms, often associated with the Bulgarian Cyrillic, could seamlessly integrate into the classical version without hindering legibility.

Simultaneously, my fascination grew while perusing typoteka.pl, encountering the Hebrew typeface Jaffa from the Idźkowski & Sk-a foundry. Its semblance to the Hebrew counterpart of Alphabet "a.r." intrigued me deeply. This intrigue led me to collaborate with Ben Nathan from Israel, an expert in his native script.

The vision evolved further, encompassing Greek and Vietnamese scripts, culminating in the creation of Polin Sans—a historical odyssey through the crevices of Polish modernism. This typeface is not just a product of design; it is a narrative woven by individuals with diverse cultural backgrounds.

Polin Sans stands testament to the collaborative efforts of Mateusz Machalski, Ben Nathan, supported by Michał Gorczyca and Małgorzata Bartosik. This type family is more than letters on a page; it is a homage to the rich tapestry of cultural influences that shape our typographic landscape.

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