Secret seven

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A large corner of my loft is stacked with vinyl records, mostly 12″ LPs, but there is a smaller pile of 7″ singles. They are going to stay there, save for the odd time I want to change the artwork in my three album-art frames that deck our landing. It is fair to say I haven’t jumped on the supposed vinyl revival—there’s already enough nostalgia in the world, I don’t need any more.

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Ditchling Museum of Art+Craft

I’d read about Ditchling Museum of Art+Craft on the Design Week blog last year when it reopened after being refurbished. It made the design press largely because of the rebranding by Phil Baines, in which he re-drew Gill Sans for all accompanying graphics. In truth, what Baines had done more than help advise on the dressing of the museum was to shine a light on an important historical design gem. And when I realised we wouldn’t be too far away while holidaying on the Kent / East Sussex boarder last week, it went on the itinerary of possible things to do. But rather than visit after going to the Chermayeff exhibition in Bexhill on our return journey home, we decided to go on a separate day, worried that two exhibitions in one day would be too much.

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Graphic obscura

Earlier last month few could have escaped the surprise announcement of a new David Bowie album, scheduled for a March release, titled The Next Day.

The artwork dropped with almost as much of a shock, to some, as the album. The artwork places a white square over the original iconic cover of “Heroes”, Bowie’s 1977 collaboration with Brian Eno which is considered by many as one of his best works. While this was sacrilege to some, others, along with myself, thought it a brave masterstroke by Jonathan Barnbrook, who has worked with David Bowie for the last 10 years.

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David Bowie – The Next Day. Sleeve by Jonathan Barnbrook, 2013

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