Front cover of the double vinyl edition

You’ve Come a Long Way, Baby is the second album by English big beat musician Fatboy Slim, an alias of Norman Cook, released in October 1998 on Skint Records in the UK and Astralwerks in the US.

Four singles were released from the album, “The Rockafeller Skank”, “Gangster Tripping”, “Praise You”, and “Right Here, Right Now”, all of which peaked within the top ten on the UK Singles Chart.

From Wikipedia:

The cover art, conceived by Red Design, uses a photograph of an obese young man dressed in a T-shirt bearing the words “I’m #1 so why try harder” while holding a cigarette. The photograph was taken at the 1983 Fat People’s Festival in Danville, Virginia, and provided by the Rex Features photo library. Cook spent years attempting to identify the man on the cover, hoping to pay him, but as of 2025 had not been successful.

[More info on Discogs]

Back cover of the double vinyl edition

Front cover of the compact disc edition

Back cover of the compact disc edition

Cover for the North American release by Astralwerks

Sessions is a growth platform for food brands on a mission to bring original food to every part of the UK.

They give their approach to food brands the slogan “Non-Stop Originality”. To reflect this high demand for originality, the London-based creative studio OMSE developed a visual identity featuring a wordmark with a circled S, evoking the logic of trademarks. The circled S is attached to the various food brands they create and support, strengthening the connection between their identity and these brands.

OMSE further defined bold language, colours, a unique photographic approach with ingredients at the centre, and expressive typography to make Sessions stand out. For this, they used Farmacia by Nguyen Gobber to create titles, signage, and slogans, while all further copy is set in Diatype by Dinamo.

To support its core mission, Sessions also established Shelter Hall in Brighton, a dedicated space for testing and exploring new food concepts and experiences. With seven rotating kitchens and two bars, Shelter Hall builds on the visual language of the core identity while retaining a distinct and unique appearance.

Founded by Angela Lee, JaneClare is unwaveringly committed to clean beauty at the highest safety standards. It is dedicated to creating formulations free from harmful chemicals while maintaining exceptional efficacy.

For our rebranding project, we chose Domaine Display Medium from Klim Type Foundry for the logotype and a combination of Domaine Text and Display for the visual identity. The chosen typography communicates heritage and innovation, reflecting the brand’s unique positioning at the intersection of modern Chinese medicine and contemporary science.

Regency Leisure Arcade is a video arcade and pool club on 63-64 West Street in Brighton, England. The marquee lettering uses caps from Windsor.

Google Street View photos indicates the sign was erected some time between August 2012 and May 2014, replacing an earlier sign of 3-D letters, also in Windsor.

Some time between August 2012 and May 2014 the current sign replaced this earlier one. It was also in Windsor, but used 3D letters with a chrome face and a red extrusion. Note the unusual CA ligature, which helps to avoid an unpleasant gap between C and A. This photo is from Google Street View, dated April 2009.

Frank Auerbach: The Charcoal Heads

This series of exhibition catalogues for the Courtauld Institute of Art in London features JAF Lapture on the covers. They were designed by Laura Parker from Paul Holberton Publishing, in collaboration with Paul Sloman from Subtract Design Studio.

Peter Doig

Claudette Johnson: Presence

Roger Mayne: Youth

Transmission graphic design studio were commissioned by Falmouth University, UK, to design the brand identity for their new MA Graphic Design (online) course.

After initial conversations with Bryan Clark, the head of graphic design at Falmouth University, it was clear that the identity should accentuate the online format of the course, which encourages students to the explore graphic design from a global perspective.

The ‘Global Exploration of Graphic Design’ strategy and dual language typographic design (English and a second language) was developed to be welcoming and inclusive and can be customised to match the global location and language spoken by each student cohort.

Aktiv Grotesk, designed by Dalton Maag, was chosen because the typeface is available in multiple languages and is very legible when set in different sizes. The design direction pairs English text with a secondary language, which is quite abstract, so legible was paramount.

Aktiv Grotesk is available in Cyrillic, Arabic, Hindu, Greek, Thai, however, we purchased extended licenses to include Japanese, Korean, and Chinese (seen above).

Intro, with The Bloom logo responding to cursor movement.

From an Instagram post by agency The Bloom:

To celebrate four amazing years of The Bloom this March, we've launched a new design. Our identity is routed in the everchanging movement of culture and the people who drive it forward. To the people who have moved with us for the past four years and the people to come, thank you. Please visit our world at the-bloom.com. Link in our bio.

Our beautiful custom font Serif No02 is designed by Erik Sachse and timeless Suisse Int’l from Swiss typefaces.

Our new Identity and website design is by Jess Mae with development by legends Rifke Sadlier and Daniel Bara of DXR Zone.

Serif No02 is available from Napoleon Services.

Main page

F37 Bolton by F37 Foundry in use for Two Of Us. A collaborative project between Two Of Us and Monique Bröring. An installation and environmental graphics concept; Re-use, Reduce, Re-think, and Recycle designed for a trade exhibition that focused on sustainability.

Patterns, a nightclub in Brighton, uses the glitchy, not-quite-monospaced Neue Machina and high-contrast-chiselled Cako in its iridescent poster and video art, designed by London-based Blixa Aguerreberry.

Seen on a visit to Brighton in January, I was instantly struck by these posters. Both typefaces felt striking and fresh, but it took me a while to pin down what the serif was! Oddly, Pangram Pangram do a couple of typefaces that look a bit like Cako, and I got sidetracked wondering if it might be some kind of early version of one of them. Schneider's Voyage typeface is very similar – I found it and then Cako – and it almost fills the gap of being a ‘Light’ weight, as Cako has big jumps from bold to regular to very light. The slight “looks like it was printed out and scanned back in again” texturing seems to be intentional –Aguerreberry uses it on his website.

Found Color is “an exploration of accidental color schemes”, curated by the Brighton-based design studio Eighth Day. Established by Jo Shackleton, the studio is concerned with brand identity, print, packaging and digital design, creating solutions that connect with people:

We listen until we understand, then we immerse ourselves in the creative challenge. We believe every company has a story to tell and that design can be the most powerful way to tell it.

Constructed upon a strong grid and a large variation of color combinations, the discreet use of Surt (Blaze Type) adds a charming effect to the archive of Found Color.

Identity for Coach Ceri, a personal trainer based in Brighton, specialising in rehabilitation and massage. The identity uses Noyh, a modern geometric font family that was designed by Chatnarong Jingsuphatada.

A personal response and tribute to Müller-Brockmann that utilises and interprets his design principles but does not emulate them to somehow make a carbon copy of them. The tribute was inspired by reading his book Grid Systems in Graphic Design. Font used was Akzidenz Grotesk, a favourite font of MB, the text included in the poster is as follows:

Josef Müller-Brockmann, born in 1914 in Rapperswil, Switzerland, was a designer who found calmness and serenity in great reductive and constructivist design. As someone with several muses including theatre, music, mathematics, logic, illustration, teaching, and structure, Brockmann used these necessities of his life to boil down his work to its simplest form, creating beauty through unburdening his work of the unnecessary. — Sara Remi Fields

B–SIDES is a collection of photographic moments exploring the visual language of Brighton through the eyes of local graphic designer Ian Caulkett. B–SIDES looks at the space that surrounds his daily life and the elements that inform his work as a designer — the unremarkable detail, the graphic qualities of found typography, shapes, lines, colour and shadows. He is drawn to the detail, the changes in the immediate landscape; whether walking the same route every day, or finding a new area of this beautiful and fascinating city.

Europa Grotesk is used as headline and body copy throughout the publication — an extended em dash adds a consistent and subtle graphic device.

Two of Us is a brand focused design partnership formed by Ash O’Brien and Ian Caulkett, working from Birmingham and Brighton.

The partnership revolves around the idea of two individuals combining working styles and skill sets to produce an offering greater than the sum of their parts, with an ethos based on honesty and openness (hence the name).

This is reflected in the absence of consistent brand colours, but by implementing a system that can use any two complimentary colours to represent the brand. The two-colour theme is developed on Instagram as an ever-evolving visual reference.

The application of the split logotype (set in Neuzeit S) also plays on the idea of two — while the logo uses an outline (where possible) to strengthen the philosophy of honesty and transparency. Simplon Mono is used as a secondary typeface across print and web.

Harrison Agency used Progress Two for their graphics for the Brighton Festival in 2011 and 2012. However, there is clearly something about the typeface they don’t like as in both cases they adapted it quite extensively. For 2011 as Aung San Suu Kyi was Guest Director they referenced Burmese script, and for 2012 they referenced the work of Charles Rennie Mackintosh.

Homepage for Ampersand 2015 conference uses bold typesetting with animation to create deeper emphasis.

Richard Rutter and John Aizlewood of Clearleft used the Questa family — courtesy of the Questa Project by Martin Majoor and Jos Buivenga — to set the type for the Ampersand 2015 conference to be held in Brighton, UK in November.

The website mixes Questa’s sans-serif and serif styles to create a striking poster-esque form and superb reading experience. The letterforms mixed with striking block colour are offset with subtle animated embelleshments that allow the type to break within the space.

Content pages use Questa-sans for page headings and body copy, whilst section headings use Questa to create visual separation.

The use of Questa to highlight a sponsored event creates a striking differentiator between information types within the schedules page.

A nice bit of self-referential font use.

The Flour Pot Bakery is a fresh wholesale bakery for coffee shops and restaurants with it's own bakery shop in Brighton. Web design and development agency Neptik designed the bright corresponding website using Eagle in caps for headlines, section headings and navigation, Cabin for continuous text and Georgia in italic for quotations.

The common face of the Brighton Festival since the Johnson Banks rebranding in 2013.

Here & Now is the magazine of The Academy of Urbanism. It is designed by Richard Wolfströme. The publication’s main typefaces are Laski Slab and Laski Slab Stencil from ReType.