About Polar Font Family
Polar is a sans-serif grotesk with characteristic ink traps and rounded vertexes.
Polar is a variable font. It is versatile, modern, elegant and neutral. It can be displayed in a range from 200 to 900 in its weight axe to play many different roles.
The font has 5 predefined instances, Thin Display, Light, Regular, Bold and Heavy Display, in two styles, regular & italic, with 716 glyphs each of them.
Polar has 25 OpenType features such as ligatures, fractions, stylistic alternates, localized forms, old-style figures, etc.
It can be suitable for long texts. It also works great as a perfect display font for all caps headings, especially with its thin and heavy weight variants.
Polar covers Latin, Central European characters & supports 101 languages:
Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Igbo, Inari, Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Koyraboro Senni, Koyra Chiini, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, Northern Sami, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Tasawaq, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Vietnamese, Volapük, Vunjo, Walser, Welsh, Western Frisian, Yoruba, Zarma, Zulu.
Polar
About Daniel Uzquiano
I am a graphic designer specialized in typography and interaction. I am holding a Master's in Typography from the University of Barcelona (UB). During the master's degree in 2010, among other things, I developed an interest in the patterns that a letter must have to be recognized as such.In this sense, I incorporated into my work programming to randomly combine strokes and shapes from essential elements of ancient calligraphic models with the aim of exploring the border area between the letter and the doodle. Far from obtaining simple meaningless scribbles, I came to obtain some semantic forms different from those proposed by the calligraphic model that serves as a reference.Since then, I became more interested in creative coding as a means of artistic creation.Some of the fonts I have designed in recent years are Goma Mono, Polar and Dinosaur.
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