Founded by George Loat, One Another is an English micro-winery in Gloucestershire. George learned the art of winemaking by working around the world with winemakers who eagerly shared their knowledge and became great friends of his. Their wine is from high-quality grapes grown at Clayhill Vineyard in Essex. In George's own words:

My first three years at Central Saint Martins (foundation included) were a struggle; I constantly felt like I was riding a bike through sand. On paper, the university had all the essential ingredients for me to thrive 每 art, design and like-minded creatives 每 but I never really found my groove. By the end of the online, Covid-stricken second year, I'd had enough, so I applied for a year of study leave.?Fast forward one year, and I was itching to start studying again. Of all things, winemaking was quite bizarrely what kickstarted my renewed studious vigour. Somewhat spontaneously, I worked the grape harvest in France and Argentina before becoming a winemaker myself. The people, places and processes I experienced during my travels inspired me to set up my own micro-winery 每 One Another Wines 每 on my return to the UK. So I spent my final year at Central Saint Martins making wine and designing the brand.

The labels and branding are set in a mix of Bastardo Grotesk and Gelica, providing a fun mix of softness and quirkyness. The illustrations are by Finn Orr.

An odd little commercial street plan of the London County Council's vast housing estate at Becontree in Essex. Given the pace of construction and development at the time, 1930, there would have been a requirement to keep up to date with the extensions to housing areas, new streets and infrastructure and that could account for this being the ＆fourth edition＊.

As is the case with these small plans, retailing at 3d., production costs would have been kept down by the sale of advertising on the map and cover. The front cover is for the Castle Sports Depot that dealt with two stalwards of 1930s consumerism 每 cycling and gramophones! The map itself has been annotated with what looks like church sites and what are possibly some sort of areas or zones of interest to the map＊s owner 每 possibly areas for canvassing or leafleting?

Becontree was the largest of the LCC＊s massive housing drive in post-WW1 years that was driven by slum clearances of inner-city slums, the need to lower densities and also to provide for a growing population. From the start of works in 1921 until formal ＆completion＊ in 1935 around 26,000 homes were completed to home around 100,000 people. Attached administratively, mostly, to Dagenham, it caused this previously small Essex village to expand massively and this was helped along by construction of more local sources of employment such as Ford Motors massive plants and May & Baker chemicals. The estate, like many others, was seen as rather sterile in that amenities such as shops and pubs were seen as being sparse and late to be developed and the major issue, that of distance from the traditional East End where many had links back to, made travel by public transport slow and expensive. This was despite the development of the District line services, over existing LMSR lines, to serve the area as seen on the map.

※Street Reference Plan§ is in Tudor Black. The largest lines appear to be set in caps from a bold condensed style of some Cheltenham, possibly Stevens＊s Sandringham, or maybe Winchester. There＊s also Condensed Sans Serif No. 7 or similar (※Cycles§, ※Gramophones§) and Grotesque No. 8 (year and price), two widths of Windsor, as well as two or more unidentified oldstyle romans. Note the use of swastika ornaments for the border, something that would have been unthinkable to see in British printing just a few years later.

Contamac is ※acknowledged as the world leader in contact lens and intraocular lens material technology. Our future relies on our continued partnership with the best laboratories and practitioners in eyecare.§. The company website uses two weights of Ciutadella throughout. The company logo uses Gotham, with a filled-in counter for the lowercase o.

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Source: theprodigy.info XL Recordings. Image: theprodigy.info. License: All Rights Reserved.

Cover design by Alex Jenkins, with art direction by Liam Howlett. Photography by Konrad Wothe, Silvestris.

In 1996, The Prodigy introduced a new band logo. The first logo from 1991 was loosely based on Peignot, redrawn and with a heavy outline added. It appeared flat on the debut album Experience (1992), and, from 1993 on, in a distorted variant that was also featured on the cover of the second album Music For The Jilted Generation (1994).

Source: de.wikipedia.org License: All Rights Reserved.

In the new logo, the article was dropped from the name. Enclosed in a cartouche and supplemented by a stylized ant, “Prodigy” was now rendered white on black, in outlined lowercase letters from Keedy Sans. This quintessential 1990s typeface with highly idiosyncratic forms was designed by Jeffery Keedy and released by Emigre in 1991. The logo was used for their third studio album from 1997 as well as the preceding single releases.

Source: www.discogs.com XL Recordings. Image: Discogs. License: All Rights Reserved.

“Firestarter” was released on 18 March 1996. It became the group’s first number-one single on the UK Singles Chart. Photography by Colin Hawkins. Keedy Sans is also used for the title, again in all lowercase letters in a cartouche.

Source: theprodigy.info XL Recordings. Image: theprodigy.info. License: All Rights Reserved.

“Breathe” followed in November 1996 as the second single. Photography by Mary Farbrother. The title is in an eroded version of Alternate Gothic No. 2.

The Fat of the Land was released on 30 June 1997 by XL Recordings in the UK and on 1 July by Maverick Records in the US. It reached number 1 in 22 countries in the first week. In 1999, the album entered the Guinness World Records as the fastest-selling UK dance album. As of 2019, it has sold over 10 million copies worldwide.

In 1996, I travelled to Belgium for Rock Werchter. I came to see Beck and the Smashing Pumpkins, but stayed for the Prodigy. I hadn’t been much into electronic music before, but their performance (and also the ones by the Chemical Brothers and Daft Punk) changed that for good. A year later, I had the chance to see them again at V97 in Leeds. This was just mind-blowing. I can’t claim I became a real Prodigy fan – listening to the records wasn’t quite the same, and ultimately not my cup of tea – but that live show was unforgettable. From mea95dad’s report:

It was a highly impressive bill of bands that came together in the grounds of Temple Newsam stately home on August 16th as one half of the V97 festival. […] It’s been known for a long time that the Prodigy are the most vigorous and electrifying live act around today, but even by their standards tonight’s show was an absolute blinder. […] The greatest thing was the sheer volume of the effect. Instead of the usual pocket of fans going mental in front of the stage the feeling this time spread out, making people about 100 yards back from the stage move and dance along, whether they knew it or not. An incredible experience, and strangely tranquil, in spite of the volume. Keith and Maxim were giving it the usual manic display while blondie Liam went quietly bonkers inside his 3 or 4 walls of technology.

Here’s some video from the gig at the twin festival in Chelmsford the day after. Breathe the pressure / Come play my game I’ll test ya / Psychosomatic addict insane. In my memory, it was a lot louder.

RIP Keith Flint.

Source: theprodigy.info theprodigy.info. License: All Rights Reserved.

French ad announcing the album release on 30 June

Source: theprodigy.info theprodigy.info. License: All Rights Reserved.

Announcement by Belgian record company PIAS. The heavy sans serif caps that also appeared on the album cover are from the fattest member of Univers, the 85 Extra Black.

Source: theprodigy.info theprodigy.info. License: All Rights Reserved.

“Originally, the cover was going to be a doner kebab being roasted on a stick and branded with the name of the album. XL designer Alex Jenkins shot the image, then Howlett changed his mind at the last moment, forcing Jenkins to source the dancing crab photo, which he faxed to Howlett to approve. The claw was increased in size, making it look like the crab is sticking two fingers up to the world.” — theprodigy.info