My fascination deepened as I explored the Cyrillic variants in "Towards an open layout: A letter to Volodya Yefimov." Circular forms, reminiscent of the Bulgarian Cyrillic, intertwined seamlessly with the classical script, enriching rather than hindering readability.
My journey took a captivating turn with the discovery of the Hebrew typeface, jaffa, akin to the Hebrew equivalent of Strzemiński's "a.r." alphabet. Ben Nathan, a talented designer from Israel, joined the venture, lending his expertise to his native script.
What started as an exploration of two scripts expanded into a multicultural odyssey encompassing Greek and Vietnamese. Polin Sans emerged as a testament to Polish modernism's hidden corners, crafted by a team with diverse cultural influences.
The brainchild of Mateusz Machalski and Ben Nathan, supported by Michał Gorczyca and Małgorzata Bartosik, Polin Sans stands as a tribute to the intertwined beauty of history, culture, and design.
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