Designer Hayley Lim taps into the expressive tension of Faust (designed by Bouk Ra and released by Type Department) to craft the visual identity for StillBitter Lemonade Co., a brand that leans into contrast – tart yet elegant, bold yet refined. Faust’s razor-sharp serifs and exaggerated curves lend the brand a sense of cultivated drama, perfectly echoing the product’s name and attitude.

Used across packaging and brand assets, Faust brings high contrast and an air of irreverent sophistication. The typeface balances between ornamental and functional, delivering standout shelf presence while maintaining readability – ideal for a modern beverage brand that wants to feel both niche and premium.

In the hands of Lim, Faust becomes more than a type choice – it’s a statement of flavor, edge, and aesthetic bite. The accompanying sans is Kilotype’s Oldschool Grotesk Compact.

Spanish creative studio LA TECLA brings theatrical nuance and poetic tension to life in their digital identity and website for stage director, playwright, and performer Alberto Cortés. At the heart of the project is Faust by Bouk Ra, a typeface whose dramatic contrast and idiosyncratic details echo the artist’s rich and unpredictable creative journey.

Cortés, who describes his body of work as a “theatrical journey that begins with stray playwriting and grows wild,” sought a platform that could reflect the depth and evolution of his interdisciplinary practice. Latecla responded with a website that feels both enigmatic and emotionally charged – a fitting mirror of Cortés’ narrative voice.

Faust serves as a central visual thread, adding an expressive typographic layer that enhances the site’s overall atmosphere: subtly mysterious, yet deeply human. Paired with considered photography and a minimal layout, the typeface contributes to a sense of theatrical intimacy – perfectly balancing elegance with eccentricity.

On the website, Faust is supported by Héctor Gatti’s Archivo for the menu and all smaller text.

The result is a digital portfolio that feels more like an unfolding performance than a static website, blurring the line between stage and screen, artist and archive.

Hosted at Somerset House in London, co-curated by Iain Forsyth & Jane Pollard and Claire Catterall, The Horror Show! was a journey to the underbelly of Britain’s cultural psyche. The exhibition presented an alternative perspective on the last five decades of modern British history in three acts – Monster, Ghost and Witch. Recast as a story of cultural shapeshifting, each section interpreted a specific era through the lens of a classic horror archetype with thematically linked contemporaneous, new works and a survey of the counter-culture of the time. We were tasked with designing all 2-D aspects of the show. The graphics inside the exhibition, the marketing, publicity and the catalogue. Each one needed to fit seamlessly with the other and explain the complexity of the exhibition in a sympathetic form.

To accompany the exhibition, The Horror Show! catalogue is constructed with a unique, irregular concertina fold. When closed, this features a “Frankenstein’s monster” face, grotesquely confronting the viewer. Whilst once open and fully extended, it is revealed that the face is made up of photographs of artworks and cultural figures from in the show. This collaged cut-up is a metaphor for British society, consisting of the mainstream and counter-culture, the two constantly pressing and grinding against each other. The back of the catalogue features the main collage used in the publicity for the show, with the addition of a very important key, so that you understand who everybody is in the image.

Once you have opened the catalogue, you are confronted with three sections which, as in the show, are designed completely differently from each other with contrasting typography and paper stocks for each. The Introduction section is dark black and takes its styling from the combined spaces in the show. Monster puts on the stinking clothes of Punk DIY. Ghost is grey and washed out, never fully materialising on the page. Witch is bold, proud, modern and old – daring you to disagree.

The catalogue design needed to refer to the decades in the exhibition – the 70s, 80s, 90s and onwards but also be something very contemporary. This meant a selection of fonts which referred to the era of the ‘feeling’ of each section but were used in a contemporary way. They are thrown up against each other in ugly juxtapositions, symbolising how counter-culture needs to push into the mainstream to change us all and move creativity and society forward. The layouts also referred to this historical context. The Monster section is based on the 70s and 80s and is an updated version of the DIY punk fanzine. Ghost is ethereal, with typography almost not there. Witch is bold, alchemic, and strongly gothic but looks towards the future as much as the past.

The title on the spine brings together Ouroboros, Infidel, Trickster, Nylon & Draylon, Bastard, Virus VujaDe, Terminal Grotesque, Tourette Extreme, and Bradley DJR (for the exclamation mark). The O’s are custom drawn pictograms.

Back cover: “A twisted tale of modern Britain” combines Ouroboros, Serpiente Display, Trickster, and Nylon & Draylon.

Text inside the mouth is set in Combat. The fonts used for the “MONSTER” letters include Ouroboros, Bastard, Trickster, Fleshy Font, and Newspeak

Spread with text set in T1 Korium and Combat. “Freak Scene” combines Gandur Alte with Trickster. Year dates are from Zloy.

The “Ghost” letters are taken from Lapicide and Marian Black. The italic for the text on the ear is from Faust.

More Marian Black and Lapicide, with Melancholia Italic used for captions

Captions feature Faust Italic, upright Melancholia, numerals from Gosna, and Tourette Normal.

The text on the left half of the eye is set in Ni Resolution Blackletter. The “WITCH” letters are from Infidel, Nylon & Draylon, Ni Resolution Blackletter, Virus VujaDe, and Prototype.

Titles feature overlapping letters from Ni Resolution Blackletter and Nylon & Draylon. The byline is in Terminal Grotesque, the text in Larish Alte.

More text in Larish Alte, with initials and page numbers from Ni Resolution Blackletter

If there is one place where Italy and France know how to agree, it is around a table!

Cacio Pepe, an Italian trattoria located in the heart of the Passage de l'Arsenal in Valenciennes, brings together the creativity of Italy through that of a starred chef of Italian origin and the French audacity of an entrepreneur-restaurateur who does not have cold eyes. Two gourmets at heart who have taken up a bet: to set up a restaurant together in the pure Italian tradition.

History and art through the eyes of one of the most iconic Spanish pop artist.

After several years designing #VersionaThyssen, we had the chance to take part in a very cool project together with the Museo Nacional Thyssen-Bornemisza. They wanted to promote several pieces of their collection through the figure of Alaska, one of the most iconic artists of La Movida. The videos show Alaska’s visual universe with a modern touch and a bold style; referring to pieces that range from Carpaccio’s details to the Russian vanguards and how they inspire music and literature.

Our graphic proposal creates a coherent system for the four videos and at the same time, allows each one to have their own personality depending on the picture showing. We achieved this combining different typefaces that conceptually and formally matched with the era and aesthetic of each painting.

As we said, each video has its own typeface related to the painting’s era and aesthetic. On Carpaccio’s Joven caballero en un paisaje, we chose Faglia Serif by Natalia Timea because of the serifs’ resemblance to knight’s aesthetics. A similar choice for Thomas Cole’s Expulsión. Luna y luz de fuego. Here we chose Faust by Bouk Ra for its gothic aesthetic, height and the serifs that looked like flames.

With Pollock, we used Pilowlava from Velvetyne. The dripping style, typical in Pollock’s work inspired us to pick up this font with similar details to its paintings. And lastly, for the Russian vanguards, we chose Due Studio’s Nodo, a geometric typeface with rational aesthetics that reminds the shapes of the paintings of the Russian movement.

Faust by Bouk Ra in use by Matthew Pahl for a poster with a Bible quote from 2 Corinthians 12:10: “For when I am weak, then I am strong”. Faust is used in all caps from its Mephisto style, with an added stroke to slightly beef up the weight, and featuring the alternate wide O with diamond. The smaller text is in Helvetica or similar.