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.

Check out the Barney Bubbles references in this clip for Kim Ann Foxman’s track Creature.

“How can something so square be so hip?”

Designer Richard Evans sets out to answer this question in the new illustrated history of the 12in album sleeve, The Art Of The Album Cover.

Evans, The Who’s in-house designer for 35 years, provides a comprehensive overview in this glossy hardback which presents many examples of Barney Bubbles’ plundering of the history of record sleeve design for his palette of possibilities: think the crazy lettering and daring mix of photography and graphics of Alex Steinweiss and his 40s brethren Jim Flora and George Maas and, in the 50s,  the work of the cool ruler, Blue Note’s Reid Miles.

Evans shows how Miles’ admiration for the “blotted line” illustrative work of Andy Warhol in the 50s resulted in gorgeous sleeves for Johnny Griffin and Kenny Burrell, while tribute is paid to the work not just of examplars such as William Claxton and Burt Goldblatt but also the teeming “unknowns” who populated the art departments of (mainly American) record labels in the 50s and 60s.

As design critic Kenneth FitzGerald recently set out in his new collection of essays, Evans recognises that everything changed with The Beatles’ 1963 debut album sleeve by Robert Freeman, setting design for music on the path to Sgt Pepper’s four years later and then onto the 70s boom-time. There are name-checks for all the leading art directors, illustrators, designers and artists, including Cal Schenkel, Neon Park, Kosh, Hipgnosis, Roger Dean and Evans himself as well as Barney Bubbles, whose work Evans deeply admires.

“I don’t have enough words of praise for the delightful and brilliant work of Barney Bubbles,” writes Evans. “He was the graphic designer’s graphic designer; a man full of the best ideas executed with great wit and originality.”

With concise sections dedicated to Neville Brody, Peter Saville, Malcolm Garrett and Stylorouge, Evans tracks the familiar tale of the damage done by the shrinkage of the packaging with the rise of the CD and the ultimately restrictive practices wreaked by increased digitisation.

As in FitzGerald’s Volume, however, the obituary for the vinyl sleeve outlined in Aubrey “Po” Powell’s introduction (“The art of creating album covers belongs to a bygone age”) looks again to be premature in an era of renewed vigour in the field.

And Evans’ declaration that album sleeve design now resides in CD booklets also seems wrong-footed; the digital format is being rapidly forced down the gurgler by the download generation yet the demand for vinyl – though necessarily much more limited than in it’s heyday – is once again the smart choice.

The Art Of The Album Cover is available here.

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.

Third-year graphics communications students  at Chelsea have responded to Process with a stunning set of works which formed a mini-exhibition at the college last week.

Course director Geoff Thomas-Shaw’s brief was to create three-dimensional objects in response to the show.

Mindful of Bubbles’ educational experience working with paper and card as part of a display course at Twickenham School Of Technology in the late 50s and early 60s, Thomas-Shaw’s brief also paid attention to Bubbles’ work in the pre-digital age.

Thus, students were steered towards producing designs “analogue in terms of origination, utilising paper-based materials to reflect the non-dependency of digital influences in Barney Bubbles’ original artwork”.

Recognising some of the designer’s primary concerns, Thomas-Shaw also recommended they consider Bubbles’ use of scale, colour, texture and mode of display.

Chelsea Space director Donald Smith and I are bowled over by the quality and vision of the results.

“I’m incredibly impressed by the ways in which the students interpreted the brief; by their skill, wit and dexterity; and also by how well they had seemed to understand the original work,” says Donald Smith. “Their exhibition is impressive in its own right.”

Process is on until this Saturday (October 23).
Come along and say hi.

Photos: Donald Smith.

On a page in the Chelsea Space visitors’ book, New York designer Aleksandar Maćašev sums up the reaction to the show we’ve received this week from a flood of visitors, including waves of graphics students, a major British artist, Ian Dury’s biographer, the owner of the country’s biggest spoof news site, one of rock music’s leading record sleeve designers (who has incorporated a section on Barney Bubbles in a new book), and, of course, Billy Bragg.

Maćašev wrote that a visit to the exhibition was the top of his to-do list while in London, and, judging by his response, we did not disappoint. Artist Daniel Sturgis, who has openly acknowledged his debt to Bubbles, was similarly complimentary, as were Will Birch and Paul Stokes, one of the men behind The Daily Mash.

Studying the ramp wall exhibits with Will Birch.

Will Birch asks about the book and magazine display.

With Paul Stokes (far right) and Chelsea students.

And designer Richard Evans, who has been art director for The Who for more than 35 years, came along for a viewing, bringing with him his exciting new book Art Of The Album Cover, which has a section dedicated to Barney Bubbles’ achievements in this sphere.

Richard Evans discusses process with Chelsea Space assistant curator Barbara Elting and assistant Martina Gonano.

Richard Evans with his new book open at the section on Barney Bubbles’ album sleeve designs.

Students from courses at Chelsea, Hastings, London College Of Communications and the Vienna International School took their time to absorb the insights into Bubbles’ working methods provided by the exhibits in the main room.

Students from the Vienna International School.

Students from London College Of Communications.

Students from Chelsea College Of Art & Design.

“I found it fascinating and informative (more than most of the LDF and ADF!),”  writes Jonathan from Sussex Coast College Hastings. “Because of the layout, you get the sense of ‘this is his work’ and then you walk round the corner and…’this is how it was done’. It’s not just a show of his finished pieces – it goes deeper than that.”

Process is on until October 23.

Photos: Donald Smith.

One of the most satisfying aspects of staging Process has been engaging with visitors who knew Barney Bubbles personally.

Film producer Linda Gamble dropped by last week; she worked at Virgin Records in the 70s and 80s and knew Bubbles via her then-boyfriend Will Birch.

Touchingly, Linda brought a thank-you note Bubbles sent her and Birch in 1982 for a record player they had given him. The note – in an envelope proclaiming “Bring Back The Birch” – accompanied a painted drumhead which Bubbles suggested could either be used in performance or placed on the wall as an artwork.

“I kept this note all these years because Barney was such a great guy,” says Linda.

As detailed in Reasons To Be Cheerful, around this time Birch commissioned sleeve designs for his band The Records as well as a cover for a compilation of tracks by his previous outfit Kursaal Flyers. While working together he and Bubbles had entertained themselves by creating an imaginary beat group, The Blue Genes.

In his note, Bubbles recommended referring to Merseybeat or Andrew Lauder (who had reissued such gems as The Merseybeats’ Beat & Ballads via F-Beat’s catalogue wing Edsel).

12″ sleeve. Front cover, Chocs Away, Kursaal Flyers, UK Records, 1975.

Back cover, Chocs Away, Kursaal Flyers, UK Records, 1975.

Credit details, back cover, Chocs Away.

Left: Fry’s packaging, 1968. Right: Fry’s 5 Boys 1902.

Birch first met Bubbles in 1975, when the designer produced the sleeve for Kursaal Flyers’ debut album Chocs Away.

Developing the chocolate aeroplane theme of the cover, Bubbles cast the five Kursaals on the back as variations of Fry’s 5 Boys (who appeared on the confectionery company’s packaging from 1902 until a marketing overhaul the year after Chocs Away’s release).

For his credit, Bubbles chose “Grove Lane”, after the street/neighbourhood where Kursaals’ manager Paul Conroy shared a flat with photographer Adrian Boot.

By the early 80s, the designs for Music On Both Sides, In For A Spin and their attendant singles captured Bubbles during his final reductive phase, relying on repetition of primary shapes and restricted palettes.

Thus The Records designs centred on jukebox lozenges and stars, while that for In For A Spin arose from a visit of Birch’s to Bubbles’ studio in January 1983.  “The title came out of a discussion I had with Barney,” says Birch. “I remember him alternating between sketches of a ‘spin dryer’ and aeroplane propellers,  as in ‘taking a plane up for a spin.”

12″ sleeve. Front cover, Music On Both Sides, The Records, Virgin, 1982.

Back cover, Music On Both Sides, The Records, Virgin, 1982.

7″ sleeve. Front cover, Imitation Jewellery, The Records, Virgin, 1982.

12in sleeve. Front cover, In For A Spin, Kursaal Flyers, Line, 1983.

7″ sleeve. Front cover, Radio Romance, Kursaal Flyers, Line, 1983.

Thanks to Linda Gamble for bringing in the note and providing us with an opportunity to present yet more fantastic designs which we were unable to include in Process.

The show is on for another three weeks (until October 23), open Tues-Sat, 11am-5pm.

The breadth and variety of visitors to Process over the last week pays testament to the growing interest in the work of Barney Bubbles.

A couple of days ago students on the illustration course at Kingston University spent a lot of time studying the various stages of artwork in the main room. “I can’t believe this was all done by hand,” exclaimed one. “It’s so rare you get an opportunity to study such great work in such detail.”

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.

Last night the Bazooka exhibition/collaboration with Neville Brody opened at London’s Aubin Gallery.

Curated by Stuart Semple, the show is part of the Anti-Design Festival’s counterblast to the London Design Festival.

With one room dedicated to two giant screens beaming a compilation of artworks, the Bazooka archive is represented from the 70s to the present day in a tradermark barrage of imagery collaging Dada, punk, reportage and commentary concerning everything from domestic abuse to Islamic fundamentalism.

Brody brings his typographical magic to bear on the series of new pieces, which are printed on industrial synthetic rugs produced especially in Belgium. These contain slogans such as “The abyss also gazes into you”.

“It brought us great pleasure that the manufacturer should be producing such work,” Bazooka’s Loulou Picasso told us. Barney Bubbles – with whom Bazooka collaborated on Elvis Costello And the Attractions’ Armed Forces sleeve – would surely have approved.

The work at second left in the photograph above contains an element from the cover of Bazooka’s ground-breaking January 1978 Libération supplement Un Regard Sur Le Monde.

Bubbles’ personal copy of this publication is on show in our exhibition, as is an original of The NME Book Of Modern Music, which signalled his absorption of some of Bazooka’s artistic approaches.

Utilising the comic strip visual vocab of the underground press and the Paris événements, Bazooka continue to blaze their trail in the digital age with their site Un Regard Moderne.

Bazooka is at The Aubin Gallery until October 3.