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 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.

In collaboration with Paris-based photographer Clara Imberger, this editorial was shot on film in Paris, exploring the material qualities of garments and printed matter as analogue carriers of information — objects with weight, texture, and smell. The series explores the sensory experience of their interaction: the turning of pages, the tactility of surfaces, the focused gaze, and the posture of the body. Conceived as a self-initiated project, the editorial was created together with: Photography: Clara Imberger, Styling: Solène Cézard, Hair & Make-up: Sarah Steiger, Casting: Virginia Livi, Talents: Marlene Kalweit (Next Management); Maile Van Den Eeckhoudt (The Claw) and was published in Purple Haze Magazine.

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.

A haptic invitation to the vernissage of artist duo UFO, exploring the intertwined relationship between human life and technology. Developed as a 2.5D object, the invitation features a tactile, fossil-like fragment with raised details, turning the act of receiving and unfolding it into a physical experience.

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.

The Urban Design program at DHBW Lörrach, led by Antonia Düring, centers on feminist and sustainable urban planning. Its visual identity draws on a quote by Jan Gehl, who described urban planning as the space in-between. This opening up of space between built points forms the basis for the logo and for how typography is handled within a grid of building points. The digital presentation plays with shifting scales, zooming in deliberately on individual points, while photography brings in perspectives from the "human scale," as Gehl put it — moving between the bird's-eye view of planning and the lived experience of the street.

Situated at a water lock, the artificial island forms one of the rare sites where the River Neckar becomes physically accessible within Stuttgart. Through the work of Neckarinsel e.V., it becomes a space of encounter — for education, culture and civic dialogue. Its long-term vision is to make swimming in the river possible again — understanding that a swimmable river fosters awareness for our most vital resource: water. In times of climate change, access to clean water becomes not only ecological necessity, but a defining factor for urban liveability.