Exploring the Polin Sans Typeface: A Multicultural Design Journey

The inception of the Polin Sans typeface emerged from a deep contemplation on the modernist aesthetics of the "a.r." alphabet by Władysław Strzemiński, juxtaposed with the rich tapestry of pre-war Warsaw's multiscript environment. Drawing inspiration from the geometric iterations of the Cyrillic alphabet, my curiosity was piqued by "Towards an open layout: A letter to Volodya Yefimov."

I delved into the notion that circular forms, prevalent in the Bulgarian Cyrillic, could seamlessly integrate into the classical version without impeding readability. Concurrently, my fascination with the Hebrew typeface jaffa, found on typoteka.pl by the Idźkowski & Sk-a foundry, added another layer of influence. It bore resemblances to the Hebrew counterpart of the "a.r." alphabet.

Collaborating with Ben Nathan from Israel, we expanded the vision to encompass Greek and Vietnamese scripts. Thus, Polin Sans became a historical odyssey through the intricacies of Polish modernism, woven by individuals from diverse cultural backgrounds.

Designed by Mateusz Machalski and Ben Nathan, with the invaluable support of Michał Gorczyca and Małgorzata Bartosik, the Polin Sans type family stands as a testament to the fusion of artistic vision and multicultural exploration.

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