Polin Sans: A Multiscript Typeface Journey

For years, the concept of Polin Sans brewed in my mind—an exploration merging the modernist allure of Władysław Strzemiński's "a.r." alphabet with pre-war Warsaw's multiscript essence. The spark ignited during research on geometric Cyrillic variants, spurred by "Towards an Open Layout: A Letter to Volodya Yefimov". It intrigued me how circular forms, reminiscent of Bulgarian Cyrillic, seamlessly melded into the classical version without hindering legibility.

Simultaneously, while immersed in typoteka.pl, the Hebrew jaffa typeface by Idźkowski & Sk-a beckoned. Its echoes of "a.r." in Hebrew fascinated me, birthing the collaboration with Israel's Ben Nathan, spearheading the Hebrew script. The vision broadened, encompassing Greek and Vietnamese scripts into the Polin Sans family.

This venture embodies a historical sojourn through the Polish modernism landscape, crafted by minds intertwined with diverse cultural tapestries. Polin Sans is not merely a typeface; it's a narrative woven by Mateusz Machalski and Ben Nathan, supported by Michał Gorczyca and Małgorzata Bartosik.

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