Exploring the Multiscript Beauty: The Creation of Polin Sans Typeface

For years, my mind delved into the realms of modernist aesthetics and the vibrant multiscript world of pre-war Warsaw. From Władysław Strzemiński's "a.r." Alphabet to the geometric nuances of the Cyrillic script, the concept of Polin Sans began to take shape.

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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