British Airports specifications document for Rail Alphabet, on of two such surviving sheets made for sign manufacturers. Design: Kinneir Calvert, late 1960s. Henrik Kubel used this in 2005 to begin the digitisation process for what became Britanica.
People have so many more ways to burn their money…the music industry could never smash and grab the market’s piggy banks again.’
A3 poster, 2003. ‘Think/Re:Mote – Set Your Mind Free To Be Controlled By Me’. ‘Originally designed for Supercharges’s Punk Skunk Funk EP (China), 1998. A 10″ gatefold inner, later reworked for Sleezenation, Brain Aided Design and this poster for The Peoples Bureau For Consumer Information.’ Supercharger were, for TDR a latter day Age Of Chance or Pop Will Eat Itself. There was a similar stance, vitality and energy to an idea which, based as it was on attitude and approach rather than music, stood no real chance of being universally popular. The PSF EP was a commercial iteration of an ongoing TDR idea exploring exactly who is controlled by the TV remote, and how more channels offer less choice.’
CD outer slipcase front Disco Tech (INCredible), 1999. ‘Warning! Sirens. Speed. Flashing lights. Never mind the bollocks – here’s the ‘crasher kids. Ambulances. Everything was designed including the name to harness the energy of the ‘crasher kids and experience into creating a recognisable genre of and for the audience. A music and style defined in, on and around it’s own terms, distinct from, but not alien to its context.’
CD inner booklet front, National Anthems, (INCredible), 2000. Arrows as follow spots, as crowds flocking to Gatecrasher, relentlessly moving forward…Never Stand Still, as guides, directions and speaker directionals. Gatecrasher, the voice of young Britain ready for GC’s huge year long world tour, the real national anthems growing on the poster campaign “The Real National Centre For Popular Music” (a reference to success of 2000 GC millennium event – the biggest attendance for a club even – versus the failure of Sheffield’s white elephant The National Centre For Popular Music)’
LP sleeve, back/front for Risotto by Fluke (Circa), 2003. ‘TDR worked with Fluke after collaborating on the Playstation game Wipeout 2097. It’s a simple play on mixing an remixing. Art-directed by The Designers Republic and shot by Lord Peter Ashworth.’