R.H. Middleton for Ludlow, circa 1956. Digitally engineered by Steve Jackaman.

Based on custom design work by DTP Types Limited in 1992.

Cobblestones is inspired by the look of cobblestone streets and pavers.

Blozend is a display font designed by Dani Montesinos in 2010.

Another informal script designed in 1939 by M.K. Kaufmann for ATF.

Based on custom design work by DTP Types Limited in 1992.

Based on custom design work by DTP Types Limited in 1992.

Scentogram is a deco font inspired by some 1950-60 ads.

A vigorous brush design by Paul Zimmermann for Wagner in 1954.

Based on custom design work by DTP Types Limited in 1999.

Designed for informal effects in 1961 by Freeman Craw for ATF.

Based on custom design work by DTP Types Limited in 1992.

Publicity Gothic is an all caps advertising typeface published by SoftMaker.

Based on custom design work by DTP Types Limited in 1992.

The Adolescence font was created by Adam Roe through Lunchbox Design.

Based on custom design work by DTP Types Limited in 1992.

Gladstone is a charming script typeface inspired by pen lettering techniques.

Stencilla is a Sanserif Stencil Font made for cutting by Plots.

Based on custom design work by DTP Types Limited in 1999.

A typeface inspired by the old computer games of the 1980s.

Inspired by early bitmap fonts, hand drawn for a contemporary twist.

College Grad is inspired by my Graphic Design class of 2019!

Hausbau is a radical geometric font, inspired by the German Bauhaus.

Bernhard Condensed No2 a freely drawn heading typeface published by SoftMaker.

Designed by Rodrigo Salas, ToreTtO is a display sans font family.

Zoria is cool modern typeface, designed by samokat during May 2010.

Based on custom design work by DTP Types Limited in 1990.

This font was inspired by music from the band Dropout Year.

Newland is a blocky typeface inspired by Rudolf Koch’s calligraphic Neuland.

Based on custom design work by DTP Types Limited in 1990.

For several years I have been thinking about the design of a type family that explores, on the one hand, the modernist aesthetic that we know, from the Alphabet "a.r." designed by Władysław Strzemiński, and on the other, to the multiscript pre-war Warsaw. This is how the idea of creating the Polin Sans typeface was born. After researching on geometric variants of the Cyrillic alphabet, I was inspired by the text "Towards an open layout: A letter to Volodya Yefimov". I was intrigued by the fact that circular forms, which we are mostly familiar with in the Bulgarian Cyrillic, can be implemented in the classical version, without disrupting the reading process. At the same time, while working on typoteka.pl, I was fascinated by the Hebrew typeface jaffa, published by the Idźkowski & Sk-a foundry, which at some points looks like the Hebrew equivalent of the Alphabet "a.r.". Ben Nathan from Israel joined the project and was responsible for creating his native script. The idea of creating a multiscript family expanded to include Greek and Vietnamese. As a result, Polin Sans is a historical journey through the nooks and crannies of Polish modernism, which was created by people with diverse cultural backgrounds. The Polin Sans family was designed by Mateusz Machalski and Ben Nathan with the support of Michał Gorczyca and Małgorzata Bartosik.