Kosmo Vinyl has sent this photograph taken of himself with Barney Bubbles (centre) and an unidentified person (right)* in the west London offices of Stiff Records in 1977.

“I have no idea what we are looking at,” says Vinyl, the former plugger/publicist/ideas man for Dury and The Clash who later became a record producer.

“The way I’m holding whatever it is,  I’d say it’s a book or a magazine. I love the way it captures Barney’s enthusiasm and amazement.”

Vinyl has also provided some fascinating tales and insights into the creative partnership conducted between Bubbles and the late Ian Dury.

Having MC-ed dates on the autumn 1977 Lives Stiffs tour, Vinyl worked closely with Dury, who became Stiff’s priority act after the departure of co-founder Jake Riviera with Elvis Costello and Nick Lowe.

“I first met Barney at 32 Alexander Street (Stiff’s Paddington headquarters),” says Vinyl. “He was downstairs with his own little space in the back, by an old sink, very basic.

“At that time Stiff was half a dozen people, if that, and I was keen to pitch in. If records arrived and needed unloading, it was all hands on deck, from the top to the bottom (which was probably me).

“Anyway Barney and I just hit it off, we were fellow enthusiasts. I had no idea about artwork or design; I don’t think I had ever thought about how a record cover came about.

“Barney would be down there being very positive, working away in front of me and chatting, completely unfazed by anything else going on. If I ever had a spare few minutes I’d go and see what Barney was up to – he was always there and always working.”

" Ian Blockhead". Poster fold, 30cm x 21cm.

"Charley Blockhead".

"Norman Blockhead".

"Micky Blockhead".

Poster. 59cm x 64cm.

Vinyl also played an important part in a photo-session of Dury with members of his newly formed band The Blockheads. Shot by Chris Gabrin, the results were used in a series of Bubbles’ designs, including an  eight-part fold-out tour poster and promotional and advertising material.

Aged 20 with a sharp New Wave/retro look himself, Vinyl helped the musicians, who had been part of mid-70s good vibes outfit Loving Awareness, make the transition to the streetwise appearances demanded by the post-punk period.

Dury, of course, handled his own look, as did his singular colleague from Kilburn & The High Roads, saxophonist Davey Payne. Songwriter/keyboard-player Chaz Jankel was absent.

“I helped out with Norman (Watt-Roy, bass), Charley (Charles, drummer), Johnny (Turnbull, guitar) and Mickey (Gallagher, keyboards), although I didn’t think of it as styling at the time,” says Vinyl.

“It was more a case of, ‘Let’s lose that dodgy jacket and stack heel boots’. It was a two-way street; they pointed out things that I or someone else was wearing and would say, ‘I like that’. They recognised that sartorially they were out of touch, but were keen to catch up.”

With a few bob from Dury’s management Blackhill Enterprises, Vinyl bought some clothes and found other garments, including a double-breasted suit designed for Ian Dury by Malcolm McLaren in 1974 at the Kilburn’s then-manager Tommy Roberts‘ behest. This “SEX Original” suit was worn by Watt-Roy, though not for this shoot.

Reverse poster fold. Ian Dury.

Dury with Turnbull + Watt-Roy.

Charles, Dury, Turnbull, Payne, Gallagher + Watt-Roy.

Watt-Roy + Charles.

Poster reverse.

“Once Mickey got a pair of creepers and a haircut he was away,” says Vinyl. “In view of the album title, it was Dr Martens all round.”

The front of Bubbles’ fold-out tour poster replaced the group’s faces with the business end of Ronson electric shavers.

On the flip, Bubbles exposed the production process which surrounded pop promotion by featuring Gabrin’s contact sheets adorned with crop marks, selections and decorations.

The same portrait shots from the poster were also used in tour adverts in which the heads were replaced with the then-new Blockhead logo, while ads for New Boots & Panties!! used frames captioned with Dury’s alternate title suggestions (including “Don’t Fart Before Your Arse Is Ready” and “Be Savoury”).

As essayed in Reasons To Be Cheerful, Bubbles and Dury’s working relationship flourished as a result of their shared understanding of art and design.

“As far as I am aware, Barney had a complete free rein/reign over the artwork for Ian and The Blockheads,” says Vinyl.

“Whatever he delivered, Ian loved. There was mutual respect and appreciation. Ian spent seven years at art school and then did some teaching, so I think he knew as well as anyone, perhaps more so, how talented Bubbles was.

“To me, they saw themselves as equals and were very aware of the craft and hard work each put into their art.”

Tour advert, New Musical Express, May 6, 1978.

Ads from the shoot were featured in Process: The Working Practices Of Barney Bubbles at Chelsea Space, Sept/Oct 2010.

As also detailed in Reasons and here, Bubbles’ creation of the Blockhead logo emerged during his initial conversation with Dury.

“We wanted a logo that could be printed on t-shirts,” says Vinyl. “I clearly remember Barney told Ian he thought he had it before their telephone conversation was over. That was a maximum of five minutes from being asked, probably less.  Ian put down the phone and said, ‘He’s done it’.”

Vinyl says that Bubbles was jazzed that t-shirts bearing the logo were printed for the children of the band members and their management: “Barney loved the idea of kids wearing his design. I think it gave him some encouragement and perhaps the opportunity to do some very playful stuff.”

Few of Bubbles’ designs are more playful than the Tommy The Talking Toolbox ident for the band’s 1979 album Do It Yourself.

“Tommy was one of Ian’s absolute favourites,” declares Vinyl. “He couldn’t believe it when he first saw it. ‘Delighted’ would be an understatement.

“There weren’t many people Ian Dury trusted 100%. He’d been about a bit, but he trusted Barney completely.”

* CAN YOU IDENTIFY THIS PERSON? WE’VE ASKED AROUND AND NOBODY HAS COME UP WITH A NAME. IS IT IN FACT YOU? IF IT IS, GIVE US A SHOUT.

I was delighted to receive this boxed Blockhead watch recently.

Of course the typogram on the watch face – which emerges at twelve-fifteen and three o’clock – was designed by Barney Bubbles at the behest of the late Ian Dury, who said in Will Birch’s No Sleep Till Canvey Island:

“I phoned him and said, ‘I want a logo. It’s got to be black and white and square’. Then I heard somebody in his office say, ‘Wow’ and he said, ‘I’ve done it’.”

Bubbles’ reworking of the 30s Left Book Club logo was initially used on the label and advertising for Dury’s April 1978 single What Waste.

The logo appeared in adverts and the full range of merchandise, while the watch became a much sought-after promotional item.

Manufactured by Timex, it was presented in a blue plastic silver-embossed box complete with card envelope, purple nylon lining and a guarantee.

These days the logo is owned by The Blockheads, who are making it available on badges, t-shirts and as part of the Blockhead “life membership” pack.

Read an extract from Paul Laity’s introduction to the 2001 reissue of the Left Book Club Anthology here.

Thanks to Mushi Jenner for sending me the watch.

Barney Bubbles Inside out from Lisa Whitaker on Vimeo.

This 100-second career resume has been created by Lisa Whitaker, who is currently studying graphics at Leeds College of Art.

The DVD – housed in an “inside-out” sleeve and accompanied by a poster – came out of a course brief for a collection of 100 design objects in which she compiled album sleeves, including Bubbles’ design for Imperial Bedroom by Elvis Costello And The Attractions.

“I am fascinated by this talented man and his links to other creative people,” says Whitaker. “My moving image piece Barney Bubbles Inside Out pulls together the research and is aimed at graphic designers, record collectors and music lovers as a way of spreading the word about inspirational figure.”

Whitaker’s backgrounder on the project is here.

The most exciting moment in preparing the new edition of Reasons To Be Cheerful arrived at 6 o’clock one morning this summer when I cracked a major mystery surrounding Barney Bubbles’ life and work: the identity of his first full-time employer, the person who Bubbles said taught him “everything about typography”, instilling the rigour which resonated throughout his professional life.

In turn, the trail I uncovered lead me to establish a hitherto unacknowledged connection between Bubbles and one of the greats of graphic design, Robert Brownjohn.

During my research, family, friends and associates had recalled little about Bubbles’ first employer, least of all his name.

While stressing the importance of this mystery figure in his life, Bubbles himself declined to name the individual in his only ever interview (in The Face, published November 1981).

From Dave Fudger’s interview with Barney Bubbles, The Face, 1981.

So that early morning in June, after years of cross-checking directories and entering any number of search engine variations, I experienced the “Eureka” moment when the name Michael Tucker + Associates popped up halfway down page 6 of Googlebooks.

This chimed not just with an address and phone number I had accessed, but also contemporaneous correspondence in which Bubbles mentioned “M.T.”.

Within hours I had confirmed that this was indeed the commercial art studio where Bubbles (then Colin Fulcher) worked as an assistant between 1963 and 1965 as part of a small team servicing such clients as Pirelli.

And soon I unravelled the whole story, one which has never been published before.

A star graduate of the London College Of Printing, Michael Tucker began his professional life working for British industrial designer Ian Bradbury in the late 50s.

Cover, Meet Yourself As You Really Are, Michael Tucker, Penguin, 1962.

Design credit, 1962.

12″ sq inner sleeve, Space Ritual, Hawkwind, UA, 1973.

In 1962, Tucker, then in his early 20s, designed the jacket to Penguin’s reissue of 30s self-help book Meet Yourself As You Really Are.

The geometric arrangement and use of colour aren’t so far removed from Bubbles’ later work, such as the inner sleeve of Hawkwind’s 1973 album Space Ritual.

Around the time of the Penguin book cover, Tucker set up his own practice on the fourth floor of Artists House, at 14-15 Manette Street, the thoroughfare alongside Foyles which connects Charing Cross Road to Greek Street in London’s West End.

Artists House, Manette Street, late 60s.

Artists House adorned by JR, 2008.

Tucker was a stickler, insisting assistants use Graphos architecture pens rather than Rotrings and was dead set against the on-the-rise Helvetica, preferring for the house font the original manifestation, Neue Haas Grotesk, on a German-size body.

“There was also an unspoken rule that we had to wear American button-down shirts,” says Brian Webb, who began his career at Tucker’s in the mid-60s. “Anything not Ivy League was frowned upon.”

Webb – later of Trickett & Webb and now Webb & Webb – remembers Bubbles returning to MT+A from his job at Conran Design for occasional freelance commissions, including the lettering for the poster for director Hugh Hudson’s 1966 Pirelli-sponsored promotional short The Tortoise & The Hare.

Brownjohn’s credit sequence starts at 1.00.

The film was produced by the powerhouse commercials company operated by Hudson in conjunction with Donald Cammell and Robert Brownjohn (famed for his typographic excellence and design audacity with such triumphs as the title sequence for Goldfinger and the sleeve of The Rolling Stones’ Let It Bleed).

The Tortoise & The Hare is notable for the opening credits, which Brownjohn designed to appear on moving vehicles.

D&AD ‘66 Annual designed by Michael Tucker. Cover: Aldridge/Klein.

Feature on MT+A’s Chubb booklet, Design, 1971.

Also in 1966, Tucker designed the D&AD Annual (the cover was contributed by Alan Aldridge and Lou Klein), and went on to produce such commercial designs as vinyl labels for Plastic Coatings Ltd as well as logos and booklets for security clients Chubb and Minerva.

Tucker’s work appeared the Graphis Annual 1968-69, Top Symbols And Trademarks Of The World (1973) and World Of Logotypes Vol 2 (1978). By the early 80s he was teaching graphic design at Hong Kong Polytechnic before retiring to focus on his hobby, sailing.

For full details of this and the many other fresh elements in the new edition of Reasons To Be Cheerful – including 60 new images – click here or on one of the ‘buy now’ buttons below for a personalised signed copy at just £18.99 + P&P.

The enhanced, revised and updated new edition of Reasons To Be Cheerful is published in the UK this week.

With a remixed cover, the fully illustrated 224-page second edition of the acclaimed biography features many new elements.

There are nearly 60 fresh images in the new book: letters, postcards and photographs as well as sketches, designs and finished artwork for record sleeves, posters, stickers, drumheads, etc.

Paul Gorman has written a new author’s note and afterword summing up the impact of the first edition, and the commentary now includes a chat with foremost US designer Art Chantry about the relevance of Barney Bubbles’ artistic legacy to contemporary design. The new edition is published in the US in spring 2011.

A host of new contributors have been interviewed, from Wreckless Eric to “Record John” Cowell – Bubbles’ one-time room-mate and the half brother of Simon Cowell.

All chapters have been updated with freshly researched information, including never-previously published facts and quotes about Bubbles’ time at art school and his first full-time job at leading British commercial art studio Michael Tucker + Associates.

As an EXCLUSIVE, we are offering signed copies of the new book only from this blog, priced £18.99 plus £5 p&p UK.

Mail for info on postage to continental Europe and rest of world.

To buy your copy click on the button below or visit HERE for details.

Courtesy of Chelsea Space director Donald Smith, here are some more photos underlining what fun was had at last week’s private view for Process. These and others will soon appear on the Chelsea Space site.

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Video commissioner Cynthia Lole, Caz Facey, writer Nick Vivian and Jake Riviera view the exhibits.

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Donald Smith with writer Chris Salewicz and Jerry Dammers.

Designer Olaf Parker with writer/curator Paul Gorman.

Musician Leo Williams with Paprika and Leo Junior.

Painter and former Kilburn & The High Roads member Humphrey Ocean with the 1977 Psstt! ad featuring himself and Ian Dury.

Jake Riviera, music publisher Peter Barnes, Mick Jones and Nick Vivian.

Kate Moross and her VJing team.

Clothier Lloyd Johnson whispers to arts event organiser Michael Barnett while musician Bruce Marcus chats to the V&A’s Catherine Flood.

Mick Jones and Jerry Dammers.

Nick Lowe talks Barney.

Chelsea College’s Nobby Graham and Lloyd Johnson.

Writer/filmmaker Paul Tickell looks on as artist Bruce Maclean strikes a Blockhead pose.

Musician/writer Dave Barbarossa and his wife Alison view the music press ads.

Process is feature in today’s Guardian Guide as a pick of new exhibitions around the country. Of course John – who worked alongside Barney at Frendz and danced on Hawkwind’s Space Ritual tour – meant Nick Lowe, not Drake.

The image is the artwork for the “Hamer & Sickle” logo Barney Bubbles created for Lowe’s 1979 album Labour Of Lust, spin-off single Cracking Up and music press ads/tour promotion etc (Nick had recently come into proud possession of the Hamer bass which Bubbles “snapped” into three).

Process: The working practices of Barney Bubbles uses the three areas of Chelsea Space to guide visitors through the methods by which this master designer realised his audacious creations.

And there’s a continuous soundtrack of the music for which he designed, from Cressida to Costello, from Hawkwind to The Damned, from Iggy Pop & James Williamson to Red Dirt.

In the entrance to Chelsea Space is selected ephemera – adverts, badges, music press ads, stickers – as well as books, magazines and other finished artwork and designs, including the rug made in the image of a panel on the cover of Brewing Up With Billy Bragg.

There is also a showreel of 10 of the videos directed by Bubbles (including two never publicly displayed before: Incendiary Device and Darling, Let’s Have Another Baby for Johnny Moped).

A face-off is conducted between Elvis Costello (in 1977’s Warholian 60″ x 40″ Live Stiffs poster) and Chuck Berry (in the form of the wall-mounted sculpture created by Bubbles for music publisher Peter Barnes) at each end of the ramp.

On the ramp wall are posters, sleeves and other exhibits denoting approaches, recurrent themes and areas such as art direction, colour usage, application of symbols, photographic treatment, geometric arrangement, etc.

In the main room there is no finished artwork, excepting a copy of Damned Damned Damned with it’s deliberate printing error, and an NME Book Of Modern Music to demonstrate from whence Bubbles was taking his design leads at the time of production.

Sketches and proposals, along with personal effects, influences, paintings and sketchbooks rest on plinths and trestles colour-schemed to a typically exuberant Bubbles palette.

The walls are lined with pen and ink artwork, PMTs (Photo Mechanical Transfers), proofs, proposals, paste-ups, photography, etc. There’s a guide to the technical aspects of producing artwork in the pre-digital age, as well as a professional CV.

If you get the chance, do drop by; we’re around a lot of the time so can be on hand to talk you through the show and answer any questions.

Video and music track listings for the show are available here.

All photos Donald Smith.

"Shiva Jones and the Quintessence": Sketch by Barney Bubbles (top, bearded) with group members outside 307 Portobello Road, May, 1969.

One of the more abstruse credits for Barney Bubbles appeared just as he was embarking on his career in music design.

In the sixth and final issue of underground magazine Gandalf’s Garden, Bubbles was credited with “topiary”, in keeping with the horticultural lexicon employed at the offshoot of the Chelsea head shop/restaurant of the same name.

Front cover, Gandalf's Garden 6, 1969.

Exterior Gandalf's Garden, World's End, London SW10, 1969.

Issue 6 of Gandalf’s Garden was published in late 1969, and included a feature on Quintessence. The flute-led jazz/raga/rock ensemble’s recently released debut album In Blissful Company was Bubbles’ first 12in sleeve design (with his Teenburger Designs assistant John Muggeridge, or ‘J. Moonman’ as he was styled on the cover).

Pages 9-10, Gandalf's Garden 6.

Page 2, Gandalf's Garden 6.

The feature was enlivened by a pink duotone image of the group, and an Island Records advert for the new album appeared in the same issue. Bubbles received the credit for supplying both of these.

“Since he’s listed among those responsible for ‘topiary’ (i.e. artwork) in the issue, all I can say is that he did SOMETHING!” said Rosemary Pardoe, who is responsible for Gandalf’s online presence.

Gandalf’s mainman Muz Murray does not believe Bubbles ever provided layouts. “However, he  kindly offered his Barney Bubbles’ Light Show for the benefit concerts we did with Marc Bolan, David Bowie and Quintessence,” added Murray.

Concert posters, 1969.

Bubbles, whose basement at 307 Portobello Road was used as rehearsal space by Quintessence, also regularly provided lights for their performances at the Sunday Implosion events at London’s The Roundhouse.

The GG6 Quintessence image and advert share the design approach Bubbles adopted for the black-and-white 12-page booklet he placed inside the Blissful Company gatefold (the front and back covers were paintings by ‘Gopala’, a member of the group’s posse, and the inner a photograph of the group and their circle).

Pages 6-7, In Blissful Company booklet, 1969.

Pages 9-10, In Blissful Company booklet, 1969.

The 12in sq booklet presented italicised song lyrics and credits with images of the band-members amid coarse dot patterns, shimmering elipses and die-cut apertures leading to an op-art quadrant.

This complementary and juxtaposed use of the square, triangle and circle were repeated by Bubbles throughout his career, denoting his understanding of the power of primary shapes (defining features of art movements he investigated, such as the Bauhaus).

Profiled in the BBC doc New Horizons: The Alternative Society, Quintessence took part in the 1971 Glastonbury Fayre (which led to the  fund-raising album of the following year housed in Bubbles’ tri-fold sleeve).

A version of the group is still led by founder Shiva Jones. You can catch up with their latest news here.

Barney Bubbles positions wire lettering, west London, 1980. Photo: A. Sales.

Here we have Barney Bubbles setting about creating of the wall-mounted electrical flex and wire construction which adorns the sleeve of Carlene Carter’s 1980 album Musical Shapes.

Quaver and jukebox selector, 1980. Photo: A. Sales.

Quaver with 7" single, 1980. Photo: A Sales.

The arrival of the photos from Antoinette Sales couldn’t be more timely as we prepare for our forthcoming exhibition Process: The working practices of Barney Bubbles.

Tony collaborated with Barney on the design, providing the lettering and layout, as well as styling Carter (for whom she also designed stage wear).

With Chalkie Davies behind the lens, the cover shoot took place in the west London house Tony shared with her then-husband (and Barney’s friend and patron/F-Beat label boss) Jake Riviera.

“Barney set it up in our dining room in Oxford Road,” says Tony in Reasons To Be Cheerful. “I designed and set the graphics on the back. Barney had taught me how to lay down Letraset and make the placement and spacing impeccable. I had fun with the “N” for Notes, “S” for Selections and “P” for Personnel. In the self-effacing Bubbles tradition, there was no artwork credit.”

12in album. Front cover with sticker, Musical Shapes, Carlene Carter, F-Beat. 1980.

12in album. Back cover, Musical Shapes, Carlene Carter, Warner Bros. 1980.

12in inner sleeve, Musical Shapes.

12in album. Front cover, Around Midnight, Julie London, Liberty, 1960.

Winding away from the three-legged Dansette, the five flexes (all ending with upturned plugs) feature the album title picked out in wire and blue and red balls. These also appear to be notation; can anyone interpret what they convey musically?

One of Tony’s photographs shows that there was a try-out with a diner jukebox selector. On the back cover,  a bread bin replaced the Dansette.

Tipping a wink to the Pate/Francis & Associates 1960 design for Julie London’s Liberty album Around Midnight, the inner showed Carter reclining on a rug bearing the design of an F-Beat single (by the label’s most prominent act, Elvis Costello And The Attractions).

The sleeve was decorated with many references to the newly-launched label: on the front, Carter stood on a floor strewn with promo copies of the single version of one of her father Johnny Cash’s most popular songs Ring Of Fire (with a label incorporating Barney’s symbol of three interlocked rings and also his encircled copyright “C” familiar from designs for others such as the album’s producer Nick Lowe and Johnny Moped).

The Musical Shapes sleeve drove home the F-Beat identity by featuring the variants of the house singles bags Barney produced for Riviera.

These 7″ paper designs, based around insignia and decorations from Riviera’s office jukebox, utilised the stark colour overlays and contrasts noted across Barney’s work by such contemporary practitioners as Art Chantry.

7in house sleeve. Ring Of Fire/That Very First Kiss, Carlene Carter, F-Beat. 1980.

7in house sleeve. Ring Of Fire/That Very First Kiss, Carlene Carter, F-Beat. 1980.

7in house sleeve. Splash (A Tear Goes Rolling Down)/Hello, Clive Langer & The Boxes, F-Beat. 1980.

7in house sleeve. Good Year For The Roses/Your Angel Steps Out Of Heaven, Elvis Costello & The Attractions, F-Beat. 1981.

7in house sleeve. Head To Toe/The World Of Broken Hearts, Elvis Costello & The Attractions, F-Beat. 1982.

In line with the treatment he received from other American record companies,  Carter’s US  label Warner Bros tamed Barney’s design for fear of illegibility; the full-bleed front cover was given a white border for the artist credit and album title. In addition, the inner was dispensed with altogether.

Meanwhile, the US press kit included a standard 8″x1o” b&w shot of Carter from the Oxford Road session, and posters were given away with both the American and British versions of the release.

8"x10" glossy press photo. 1980.