The print work is utilitarian and informal, using what was available. Letterpress, typewriters, cyclostyle machines. The typography is eclectic: we can recognize classic typefaces from the Nebiolo type-foundry, imported typefaces from Germany, wooden type used for headlines or mastheads, monospaced types, and occasionally some decorative faces. There was no time, resources and often the typographical skills to create elaborate designs. The production of was an ephemeral material was limited to a couple of hundred flyers or less to be distributed locally. In cases like the journal ‘Il Combattente’ (The Combatant), published between December 7, 1943 (No. 1) and July 25, 1944 (No. 11), the project is more accomplished and elaborated. It was in fact the journal of the ‘Brigate Garibaldi’, one of the biggest and better organized groups of the Resistance.

The De Aetna type represents a key stage in the development of early type, and has had a significant influence on later romans. Its letterforms served as a model for Garamont and many other punchcutters and type designers.
   The punches of the De Aetna roman were cut by Francesco Griffo of Bologna for the exclusive use of Aldus. In his A view of early typography Harry Carter writes that it ‘was decisive in shaping the printer's alphabet. The small letters are very well made to conform with the genuinely antique capitals by emphasis on long straight strokes and fine serifs and to harmonise in curvature with them’.

For several years, brands have favoured round, smooth typefaces based on simple geometric shapes. There are excellent reasons to do so, and the market offers plenty of valid alternatives, growing by the week. At the same time, many type designers are coming up with new explorations that aim to diversify an increasingly homogenized visual landscape. Organic shapes, super-contrasts, 70s vibe, de-constructed forms. Like never before, brands have a broad range of options to support their identity.
   In this picture, Fabbrica shows its technical engineered nature, sitting comfortably in a place where uniqueness and functionality found their balance. Geometry does not necessarily mean simplicity. And complexity does not necessarily affect usability. Trying not to compromise distinctiveness for neutrality, this is how the project brings up its own character.

Malden Sans is a typeface that had a very long genesis. It started as my Master degree project, in 2011, and I released it at the end of 2018 by Monotype. Seven years in the making, Malden Sans is a typeface designed with magazine usage in mind. A Grotesque with compact proportions and a certain amount of quirkiness. Utilitarian enough to be used in all printing conditions, it offers an essential typographic palette where the extreme weights in the spectrum have more character, and the core weights are more tone down.