Design Project 4 - Designer Poster

Barney Bubbles Poster

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Described by The New York Times as "a hero to young designers," the British designer Barney Bubbles is one of the most mysterious but influential figures in the field of graphic design. Bubbles, who died 25 years ago, links the colorful underground optimism of the 1960s to the sardonic, edgier art that accompanied Punk's explosion a decade later. In the 1960s, Bubbles created posters for the Rolling Stones, brand and product design for Sir Terence Conran and psychedelic lightshows for Pink Floyd. Responsible for art direction at the key underground magazines Oz and Frendz, and for the classic masthead of the NME rock weekly, he is best known for the plethora of stunning record sleeves, logos, insignia and promo videos for musicians and performers, from the countercultural collective Hawkwind to New Wave and Postpunk stars Elvis Costello, Ian Dury, Nick Lowe, Graham Parker, The Damned, Billy Bragg, Depeche Mode and The Specials. Bubbles created his own idiom, amalgamating Expressionism, Dada, Constructivism and Concrete poetry into a Rock context. With over 600 images, the meticulously researched Reasons to be Cheerful is the first and definitive investigation into Bubbles' life and work. Billy Bragg contributes an introduction, graphic designer Peter Saville an essay on the significance of Bubbles' oeuvre (titled "Toward the Canonisation of Barney Bubbles") and Malcolm Garrett a foreword.










[Barney Bubbles at the MoMA] https://www.moma.org/artists/41288

[Eye Magazine] http://www.eyemagazine.com/feature/article/in-search-of-barney-bubbles

[Tribute article by an artist who was inspired by Barney Bubbles] http://www.johncoulthart.com/feuilleton/2007/01/20/barney-bubbles-artist-and-designer/

[some info about methodology and family] life] https://daily.redbullmusicacademy.com/2015/03/barney-bubbles-feature

[7 of his works featured at the MoMA] http://www.paulgormanis.com/?p=13134

[The Face] https://testpressing.wordpress.com/2011/05/13/the-face-barney-bubbles/?fbclid=IwAR3CVkEooWU4Mg9IweR-Q8ctQIzM9tXB5BnY-v106D-ehec4NsFAuY5m_g8

[Illustrations for band poetry] http://racketracket.co.uk/music/john-cooper-clarke-directory-1979/?fbclid=IwAR282qre-OUTEMTAXRq38kJg-tWJJK-YGTQILpT4o8KVRG_9-Y4wW7ZbZbY

[Design Research Group] https://designresearchgroup.wordpress.com/2008/05/31/who-was-barney-bubbles-anonymity-and-the-design-canon/

[video- tribute concert for Barney Bubbles] https://www.youtube.com/watch?v=IfLsXka6TfQ

[video - Hawkwind live with bubbles/stage show] https://www.youtube.com/watch?v=HdTFeW8FCto

[video - armed forces packaging for Elvis Costello] https://www.youtube.com/watch?v=rPkhllHv0II

[ video - Block Heads Do It Yourself Sleeves] https://www.youtube.com/watch?v=iLsOSyg7Z6M

[images from the book I just bought] http://www.djfood.org/the-life-work-of-barney-bubbles-book/

[stuff he did for Quiver] http://www.paulgormanis.com/?p=13980

[bondage stuff] https://davidwills.wordpress.com/tag/barney-bubbles/
  •  Bubbles’ poster for a series of shows featuring the band alongside South Wales pals Man channelled the 1920s Art Deco vibe, while his artwork for the compilation Roadhawks marries Futurism with modern tendencies. Bubbles knew his art/design history and used it in a knowing way throughout his career. This methodology is typical today, but in the 1970s, it was anathema. For this alone, Barney Bubbles was a trailblazer in the world of graphic design

His signature style emerged as one that was colourful, playful, loaded with geometry, art-history and music-history references, jokes, cryptograms and symbols. The overriding appetite was for going against the grain of accepted design standards. His work is simultaneously complex in meaning and simple in its delivery.
streamlined, modern car grilles a la Raymond Loewy; and a dark sense of iconography reminiscent of fascist icons and architecture. Bubbles’ designs presaged the visual style of countless progressive rock and krautrock designs by pairing the atmospherics of Hawkwind with a look for the machine age, simultaneously dehumanizing and supplementing the music with an aesthetic of true futurism.

It was a natural progression for Fulcher to be caught up in London's burgeoning underground scene as the counter-culture 60's grabbed the imagination of the young. He moonlighted on projects and became a figure at events in venues such as The Roundhouse, Middle Earth, The Electric Cinema & The Arts Lab. His work on light-shows, which were then crude affairs employing colored liquid bubbles trapped between glass plates that were rhythmically manipulated in a light beam, was probably the source of his most common nickname 'Barney Bubbles'. It was certainly a name he had adopted by 1967 and formally used when his work with fellow artist friends appeared in an early issue (No 12) of "OZ" magazine in 1968. This is a glorious supplement of unfettered 'communal' art by Barney & Co that obviously got the nod from Martin Sharp.




























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