Blackbird Coffee is built on two things that rarely go together: uncompromising technical precision and a deep sense of responsibility – for flavor, for the environment, for the people behind every bean. Their commitment runs from high-spec machinery to their own agroforestry cultivation.
The typographic system we developed reflects this tension. A monospace carries the technical rigour of the roasting process; a grotesque with subtly tapered corners holds something quieter – a formal echo of espresso drawing from a portafilter. Two typefaces that don't resolve the duality so much as hold it. Custom graphs map the key parameters of each coffee – origin, roast, flavor. Not as decoration, but as a genuine extension of Blackbird's belief that knowledge and transparency are part of the product. Embedded into the website, they remain legible to search engines – and to anyone who wants to understand what's in their cup. The packaging follows a similar logic: one print run, two product lines – Exceptionals and Standard – distinguished by a shift in label placement alone. A material decision that reduces waste and cost without reducing coherence. Have some lovely coffee at blackbirdcoffee.de

The Greater Sandhill Crane is a large-scale sculpture by industrial design duo DUO UFO, scheduled for realization in Stuttgart's city center in 2026. The work reinterprets the familiar form of a tower crane as a poetic, animal-like figure — gently leaning toward the public after years of being perceived as distant infrastructure. The accompanying publication documents the project's development. Its design takes cues from building permit folders, dividing the book into distinct sections that bring together the project's own material alongside invited contributions.

Bottone locates itself between the playful and the precise, between gesture and principle. Inspired by Italian postmodernism on one side, Bauhaus on the other – not as historical reference, but as a living tension that runs through their first collection. The bespoke logotype grows from this design language rather than being applied to it. The forms that structure both furniture and logotype speak the same language: geometric, but never cold; playful, but never arbitrary.

During the 2024 European Championship, a natural wine pop-up bar was established to host public screenings. The venue’s centerpiece was a vintage green Polo, around which the understated setting was arranged, evoking a relaxed Mediterranean ambiance. The visual identity draws from Mediterranean restaurant logos found on paper napkins, and the original Polo lettering. Everything is printed in a single Pantone green, tying the graphic language back to the car at the center of the project.

Wet Relation is an open-format project developed together with Beatrice Bucher exploring relations between human and non-human bodies of water through a site-specific installation. Visitors encounter filtered water from the River Neckar directly, translating ecological interdependence into embodied experience through drinking. Collected perspectives on alternative relations to water form the contextual layer, activated through public readings. Language functions as a recurring element throughout the project. Newly formed compound words such as “Mittelmeermilch” (“Mediterranean Milk”) merge distinct bodies of water into speculative linguistic hybrids, connecting geography, emotion, and political realities. Applied to glass containers, they form a navigational system within the installation. An accompanying vessel functions as a growing archive, collecting performed stories and translating them into printed matter across different materials and formats. Wet Relation explores different modes of communication through design, space, and interaction, creating an experience that unfolds over time and across formats. The project was funded by the City of Stuttgart and realized on the Neckarinsel and at the Projektraum kunst [ ] klima Stuttgart. Last two photographs © Ulrike Reichart.

The painter Moritz Berg draws inspiration for his artworks from everyday life through precise and attentive observation. He captures these moments in photographs and sketches. Rather than creating a monograph, we collaborated with him to compile these foundational materials that underpin his actual work. "Zum Erden a die Luft" thus offers a fresh perspective on Berg's artistic practice and creative process — and becomes a new place to access the very roots of his work. To make this tangible, the content is physically separated from the cover. Unfolding it twice, the fragile interior, printed on 100g/m3 paper, is gradually uncovered and lies there, accessible.

Textile designer Lucy Ann Guth addresses the subject of quilts through a close familial tradition in her publication "Made in 1868 by Grandma Roof, mother of Grandma Culp, Lawrence Mohler's grandmother." The book is half-wrapped in textile, stitched onto both front and back cover by an embroidery machine.

Poetry Slam BW is an association for spoken word competitions across Baden-Württemberg. The wordmark uses variable font weight and dynamic italicisation to carry something of what the format is built on: emphasis, timing, the difference a single word can make. For the 2025 state championships at Schauspielhaus Stuttgart, the campaign returns to one of the genre's most familiar images: the mouth. Here it appears fragmented — split across two photographs, slightly misaligned, caught somewhere between expression and silence. It was selected for the Int’l International Poster Competition 2025.