Reasons to be cheerful a book about Barney Bubbles written by Paul Gorman with an essay by Saville and forward by Garrett.
In search of Barney Bubbles An article from 2001 in Eye magazine written by Julia Thrift
NME article Barney Bubbles Obituary
John Coulthart blog linking Vertigo records, Barney Bubbles, Hipgnosis, Roger Dean, Marcus Keef (Black Sabbath), Peter Saville and Malcolm Garrett.
'So where does Barney Bubbles fit in?
1) He was one of a number of designers working for Vertigo in the early Seventies. Marcus Keef produced many of the covers for the folky/prog side of things while Hipgnosis and Roger Dean were among the other talents given an early start by the label. There are two covers credited to BB under his Teenburger name, the first album by Cressida in 1970 and, more significantly, Gracious! by Gracious, also 1970. The stark simplicity of the latter’s giant italic exclamation mark runs counter to anything else on the label at that time.
2) The Gracious! design is printed on bubble-textured card while the white areas of the Autobahn design are embossed onto the sleeve. Texturing isn’t unique to the Gracious album, however, so this factor is circumstantial. Vertigo’s designers used a number of elaborate effects from die-cut sleeves to packaging which opened out to a much larger size, a trick BB famously used later for his Space Ritual and Armed Forces sleeves. Black Sabbath’s Master of Reality album was designed by the Bloomsbury Group and that cover uses a similar embossing.''
The Bloomsbury Group is quite difficult to track on the internet. (keeps referring to early 19th century group pf artists and writers). I have found Geoff Halpin worked with the Bloomsbuty Group.
Some more from John Coulthard blog
Kraftwerk: Autobahn (Vertigo) 1974 (uncredited designer)
Having grown up with the record collections of my two older brothers, I didn’t start collecting records of my own until my late teens. My friend Malcolm Garrett [of Assorted Images] introduced me to Kraftwerk’s Autobahn in 1974. I was so impressed with the 30 minute title track that I had to have a copy of my own. Not only did the music have a profound influence on me, the sleeve made a lasting impression – the appropriated road sign symbolising the excitement and romance of travelling through Europe. It was my introduction to semiotics, and inspired a use of visual codes that I would develop later through Factory Records. Peter Saville was house designer at Factory records during the 1980s''
Neville Brody - Research Studios
Neville Brody BIO
Neville Brody and Fetish records