Studio Sascha Bente

Client: Sony Music Germany
Year: 2023
To align forces, the sublabel Nitron Music and a distribution unit called 1991 have been given a common visual identity under the umbrella of Sony Music Germany. The key element here is a bespoke typeface that ties the two entities together: Schöneberg Sans. Nitron, as the loud musical part, is represented by a bold logo, and 1991, operating in the background, works purely typographically.

The typeface was drawn together with Anna Cairns who is also responsible for the graphic design and layout of the Type Specimen.

Client: Self initiated
Year: 2019–2021

A stark white page with two words introduces the chapter: »rhetorik« and ‘Rhetoric’ are the sections of Otl Aicher’s 1988 book Typographie where he ruminates on how the same idea can be formed in multiple ways. This condition is not unique to a specific language, but instead is universal. The specific syntax one uses becomes important to consider, as the way in which information is presented determines the success of its communication.

This superfamily was built on a modular, component-based system in order to simplify construction and achieve consistency. The letterforms were then refined through optical correction in each cut. In this way, Rhetorik fulfils the dream of today’s art director; a simplified, contemporary reinvention of Aicher’s Rotis (1988).

Illustrations: Olga Prader

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Client: Fasson Freddy Fuss
Year: 2021/22

Minsk Typeface Family for Potsdam located contemporary art museum DAS MINSK.

The basic structure of Minsk is based on the so-called Steinschrift. An industrial typeface (Alois Senefelder, 1769) for lithography, which was drawn directly onto the printing stone with geometry tools. About sixty years later it was to become the blueprint and pioneer of a new typeface genre, the Sans-Serif or in German Grotesk Schrift (Joseph Jackson, 1832).
The Leipzig based type foundry Schelter & Giesecke marketed the design as Fette Steinschrift. Both the Berlin foundry Wilhelm Wöllmer and the Danzig foundry Francke called the same design (Fette) Zeitungsgrotesk. The Frankfurt foundry Flinsch simply called it Fette Grotesk.

Graphic Design and Art Direction by Fasson Freddy Fuss.

Client: Studio FORGETMENOT
Year: 2021/22

Grotesk Typeface Plenar Extended in use for KaDeWe campaign »New Season. New Desires.«
Custom serif letterings for the beauty campaign (Moving Image by Vitali Gelwich)

Client: Performance Electrics
Year: 2023
Spiral Sans was drawn in close collaboration with Lorenz Klingebiel and Eva Dumoulin. It is a bespoke typeface that primarily serves the purpose of emphasizing the visual communication of the sustainable institution — an artist residency that is an opportunity for creative practitioners to produce new solutions in the fight against climate change and mitigate the environmental burden of exhibition making.

Poster and web design by Lorenz Klingebiel and Eva Dumoulin.

Client: Self initiated
Year: 2022

Dialect could be a handshake between Roger Excoffon and Edward Johnston. Building on a calligraphic base, this sans serif is geometrically constructed – yet its expressive details are like an undertone, a dialect in this context. The typeface comprises five weights with corresponding italics. All are arranged in a multiplex system where light and heavy weights occupy the same space.

Client: Dinamo
Year: 2021

ABC Camera was originally drawn as a single-cut typeface by Fabian Harb and refers to a design by Albert Hollenstein. SSB extended the upright part of the typeface family from Light to Bold and added the same weights without the characteristic holes (lighttraps). The typeface is published by Dinamo, 2021.

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Client: Sony Music Germany
Year: 2021

A mass product and a myth, believed to be dead and now making a brilliant comeback. Hardly any piece of plastic is as emotional as the vinyl record. Not least, or sometimes precisely because of the unique artwork on their covers. An unconditional declaration of love on almost 140 pages featuring a narrower interpretation of Max Miedingers Horizontal typeface.

Client: Self initiated
Year: 2017–2020

We want to print text, hold it in our hands and hand it out – no corrections, no updates, no links. ROM is a print magazine. Designed with a lot of effort and passion. We write between the ephemeral and the digital, but we stand on paper and printed words, mistakes included. Will that ever change? Maybe it will. You really can't rely on us.

Art Direction with Max Kuwertz
Co-founded and published with Khesrau Behroz & Max Kuwertz

Client: Vesper Milano
Year: 2021

VM Prosa is a bespoke typeface for the visual identity of Vesper Milano – a boutique agency located in Milan. It is based on Berthold Wolpes and Rudolf Kochs straightforward (classically proportioned) drawings in »Das ABC-Büchlein«. The VM-Signet serves as a decorative companion in three different adaptions.

The images on the first slide are taken by Fanette Guilloud (left) and Drew Escriva (right).

Client: Self initiated
Year: 2019

The typeface SB Architype is a reference to the formal language and visual expression of De Stijl artists such as Bart van der Leck and in particular Theo van Doesburg. The origin of the drawings came from a workshop on stencils with NORM during the Masters Type Design at ECAL. A strict 45 degree angle is kept for all diagonals – by applying a stylistic set the typeface becomes purely 90 degree composed.

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Client: Haus am Lützowplatz
Year: 2021-2023

At irregular intervals designed posters and additional visual equipment for the art association "Haus am Lützowplatz".

Clemes Krauss: Massen/Masses
Deborah Poynton: Folly
Group exhibition: ÜberLeben – Fragen an die Zukunft