Exploring the Modernist Aesthetic: The Journey of Polin Sans Typeface

For years, my mind has been captivated by the allure of merging modernist aesthetics with the rich tapestry of pre-war Warsaw's multiscript landscape. The genesis of Polin Sans typeface emerged from this very fascination. Drawing inspiration from Władysław Strzemiński's "a.r." alphabet and delving into the geometric variations of the Cyrillic script, I stumbled upon "Towards an open layout: A letter to Volodya Yefimov". Here, the revelation struck me— circular forms, reminiscent of Bulgarian Cyrillic, seamlessly integrated into the classical version, enhancing rather than hindering readability.

My intrigue deepened as I encountered the Hebrew typeface, jaffa, by the Idźkowski & Sk-a foundry. Its echoes of "a.r." in Hebrew script were undeniable. Collaborating with Ben Nathan from Israel, we embarked on a quest to encompass diverse scripts. Greek and Vietnamese soon found their place in the narrative of Polin Sans.

This typeface is more than a mere collection of letters—it's a historical voyage through the nuances of Polish modernism. Designed by Mateusz Machalski and Ben Nathan, with invaluable contributions from Michał Gorczyca and Małgorzata Bartosik, Polin Sans stands as a testament to the fusion of cultures and aesthetics. Each character whispers stories of its origin, weaving a tapestry of artistic endeavor across borders and time.

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