Round, smooth typefaces based on simple geometric shapes have been the top choice of many brands, for several years. There are many good reasons to do so, and the market offers plenty of valid alternatives, growing by the week.
   Almost as a reaction to this popularity, type designers are pushing the boundaries promoting new explorations that aim to distinction. Organic shapes, super-contrasts, 70s vibe, de-constructed forms. Never as before, brands have a broad range of options to support their identity.
   In this landscape, Fabbrica shows its technical engineered nature, sitting comfortably in a place where uniqueness and functionality found their balance. Geometry does not necessarily mean simple. And complexity does not necessarily affect usability. In an effort to not 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.