Barney Bubbles

Barney Bubbles (born Colin Fulcher; 30 July 1942 – 14 November 1983) was an English graphic artist whose work encompassed graphic design and music video direction.

Fulcher was born in Tranmere Road, Whitton, Middlesex (now Greater London), in July 1942.

He attended Isleworth Grammar School.

In 1958 he embarked on a retail display course for a National Diploma in Design (NDD) at the art school of Twickenham College of Technology.

During his five years at the college Fulcher received a multi-disciplinary education that included training in cardboard design, display and packaging, skills that would be utilised later in his record sleeve work.

After leaving college in 1963 Fulcher worked as an assistant at the design company Michael Tucker + Associates in London.

Its clients included Pirelli.

In May 1965, Fulcher was recruited by The Conran Group as senior graphic designer alongside Stafford Cliff, Virginia Clive-Smith and John Muggeridge.

He produced a variety of commercial commissions for Conran, including the Norman-style archer logo for Strongbow cider and items for Conran's new homewares chain Habitat.

Between 1965 and 1966 Fulcher organised happenings, parties and other events under the name A1 Good Guyz with two graduates of Twickenham Art College, David Wills and Roy Burge.

Tucker's studio produced the posters for Hugh Hudson's Pirelli-sponsored film The Tortoise & The Hare (1967), for which Fulcher designed the poster lettering on a freelance basis.

In 1967 Fulcher became known as Barney Bubbles, although he did not change his name by deed poll for several more years.

The name came about when Fulcher was operating a light show that created a bubble effect by mixing oils and water on projection slides.

These lightshows were for groups including the Gun and Quintessence at underground venues including the Roundhouse, Jim Haynes's Drury Lane Arts Lab, the Electric Cinema and Middle Earth.

With Wills, Bubbles undertook freelance design commissions, including a redesign of Motor Racing magazine and a recipe book for the English Egg Marketing Board.

Fulcher also established an association with Justin de Blank, a director at Conran, which blossomed when de Blank left to launch his own upmarket provisions company and restaurant business in 1968.

With a team of contributors Bubbles and Wills art-directed Oz magazine issue 12, dubbed The Tax Dodge Special and published in May 1968.

Early in 1969, Bubbles took the lease on a three-storey building at 307 Portobello Road in Notting Hill Gate, West London.

He converted the ground-floor space into a graphic art studio, which he named Teenburger Designs.

With a business association established with two entrepreneurs, Edward Molton and Stephen Warwick, and with John Muggeridge from Conran serving briefly as an assistant, he set about working primarily for the music industry.

His first record sleeve design was for Quintessence's LP In Blissful Company (1969).

The gatefold sleeve design uses illustrations by Gopala on the front and back, and contains a monochrome glued-in booklet inside.

Teenburger also provided record sleeve designs for the bands Brinsley Schwarz and Red Dirt, as well as Vertigo artists such as Cressida, Gracious! and Dr Z, whose LP Three Parts to My Soul is particularly noted for its complex and colourful fold-out sleeve.

Bubbles, who also sketched and painted privately, is best known for his distinctive contribution to the design practices associated with the British independent music scene of the 1970s and 1980s.

His record sleeves, laden with symbols and riddles, were his most recognisable output.

Following the closure of Teenburger in 1970 as a result of the disappearance of Molton and Warwick, Bubbles worked as the designer of the underground newspaper Friends (later renamed Frendz).

Bubble's son, Aten Skinner, was born in 1972.

While he was working at Friends, Bubbles formed an association with Hawkwind and became responsible for a run of their album sleeves, including In Search of Space, Doremi Fasol Latido and Space Ritual.

Bubbles engaged in many aspects of the group's visual identity, titling releases and designing posters, adverts, stage decoration and performance plans, some of which were adorned with mystical and mock-Teutonic insignia.

In 1972 Bubbles produced the triple LP package Glastonbury Fayre.

This comprised a six-panel fold-out card sleeve, two poster inserts, a booklet and a cut-out and build miniature pyramid, housed in a clear vinyl bag (with two sleeve variations and three label variations).

From 1973 onwards, Bubbles increasingly avoided credits for his artwork, typically working anonymously or occasionally adopting alternative pseudonyms.

During this period he designed album sleeves and additional material for such acts as the Sutherland Brothers, Kevin Coyne, Edgar Broughton Band, Chilli Willi and the Red Hot Peppers, Quiver, the Kursaal Flyers and Michael Moorcock and the Deep Fix.

In 1976 his design relationship with Hawkwind came to an end.

Barney Bubbles joined Stiff Records as designer and art director early in 1977.

With the label's co-founder Jake Riviera he generated a body of creative work that helped to secure Stiff's reputation as an exciting new independent label.

Bubbles created sleeves for bands including the Damned, Elvis Costello, Ian Dury and Wreckless Eric.

Often these were accompanied by quirky logos such as the face logo for Blockhead, advertisements and promotional items.

It was rekindled once, in 1978, for the Hawklords spin-off, but otherwise continued only with design commissions for projects involving the band's saxophonist Nik Turner.

In a rare interview in November 1981 in The Face, Bubbles described Tucker's discipline as "very Swiss; very hard; unjustified, very grey; and he taught me everything about typography."