The Specials2.com presents...THE JOHN TEFLON SIMS INTERVIEW

[Paul Willo]

THE JOHN "TEFLON" SIMS FORUM INTERVIEW


We would like to thank Mr Teflon immensely for his time in answering the questions. Another essential member of the 2Tone machine.


FESTER - So Mr Sims please explain the "Teflon" Nickname!?!?


TEFLON - Hi Fester. The nickname "Teflon" came from my Chrysalis colleagues. We all received a name and mine was from holding a table tennis bat like a frying pan in the Chrysalis games room. A&R guy "Archie" Andrews came in the room and said "Aaah TEFLON"... it stuck.


TWO TONE NUTTER - Hello John, how was the artwork produced for the adverts, Was everything hand drawn back then or were you using software to produce the images needed for the adverts, sleeves etc.
you can make the answer as technical as you like


TEFLON - Hi Two Tone Nutter. Artwork produced then was by traditional methods of using a parallel motion board, drawing accurately the plan in print format shape using 4H pencil or .02 Rapidograph ink pens (which were forever clogging or drying up). CS10 line board was cut to size using a scalpel with a 10a blade, light blue thin plastic film overlays for layers to separate colours or information to the print colour film planners. Typesetting, PMTs n line or screen dot (Photo Mechanical Transfers). All the elements were stuck down with Cow Gum or or SprayMount or even hot wax. I suppose the term in modern software is Copy, Cut & Paste and thats where its from. Fortunately 2-Tone was black and white and so were most adverts which usually meant one base artwork without overlays. As an Art Director at Chrysalis I would layout the adverts on thin presentation sheets in magic markers and Pentel Pens and relay instructions to our mechanical artwork suppliers on most of 2-Tone who were Partridge Rushton Associates in Holborn, London. Key elements I would draw or take photographic pictures and convert to hard line with no tone and etch stuff away with white paint or again the scalpel with a Swann Morton surgical No15 blade which had a nice curve for scraping very gently. In some cases I would use an air brush. Jerry and I would either talk on the phone to discuss the design or The General would walk into the Creative Dept with a carrier bag and few bits and pieces or an idea. Once Brad had a photograph he had taken of policewoman on tour and we used it on the Seaside Tour poster (see www.2toneposters.co.uk). It was so apt black & white check of the uniform tie and hat band and she had sportingly put on a pair of black and white shades. I added a Rude Girl badge and Walt Jabsco to the tie check, words coming out of her walkie talkie and typography etc.
Apple Macs and PCs were not around or in early infancy in USA. When I set up Bouncing Ball Design in 1984 we were in about 88, one of the first studios to have Apple Macs and produce artworks using software...amazing where it is now and what can be produced and getting faster... another Dawning of a New Era


PAUL WILLO -Teflon, Was a lot of time spent making the designs look rough n ready?


TEFLON - That was key. Jerry and the band wanted it to look like Ska sleeves back in the 60s. When Jerry and the band walked in with the original designs of Walt Jabsco and label design. They relayed the essence of why it had to look rough at the edges. The paper singles sleeve had to be rushed out for the release of Gangsters by Specials and James Bond by Selecter. I took their artwork elements and did trace layouts for how the sleeve should be to the mechanical artwork studios and basically there was almighty cock up. The studio thought they were being professional in cleaning up all the edges. By the time I was seeing proofs from Chrysalis Production Dept from the printers there was a realisation that it was looking a little slick and clean and I wanted it changed. Chrysalis Marketing said too late we have printed quarter of a million and cannot hold up the record release... the rest is history. Fortunately from then on with my magic markers and pentel pens bleeding nicely into the layout paper and the artwork studio keeping it rough it set the tone and style. The album and single sleeves were printed at Uptons in Birmingham but I think we managed to find the old Garrod & Lofthouse finishing machinery so that the lamination on the front wrapped around to the back crudely like the old days and the flaps glued to the outside (not the inside). It was back to the future and it was classically right.


HARRY - Hello,
1) How matey were you with the Specials / Special AKA? Who did you feel closest to?
2) What are views on art schools - could you have done what you did without art school trainning? Cameron says that when the Conservatives get in they will make it harder to get funding as they believe too many people are doing creative courses and that 3 years in an art school doesn't prepare you for the outside world.


TEFLON - Hi Harry. I got on fine with the band but I was one of many at Chrysalis doing a job and quietly got on with doing what I had to do and enjoying every moment of working in a record company art dept. The big thing for me though was I really liked Ska music and was a kid at 16 when Trojan hit the scene in the 60s. Here was a band doing Ska with a punk edge to it and some covers and their own stuff and f***ing brilliant. Jerry was head strong and tunnel visioned about how it should all be going. Terry and I would talk footie when he was in the art dept...him being a United nut and me being a Spurs man. Brad, Lynval, Neville and Roddy all great guys. Along came Rico and Dick Cuthell for the brass.. really nice people. I did not go drinking with them apart from in Coventry once covering Dance Craze. Doug D’Arcy Chrysalis MD dubbed me Ambassador to 2-Tone and that was a real compliment and it was honour to be in part of all this. I knew Rhoda from Bodysnatchers and John Shipley from The Swinging Cats but Specials AKA design work was with my mate David Storey as I had gone off to Jive&Zomba by then working on Flock of Seagulls, Comsat Angels, Roman Holiday and Billy Ocean.
Regarding art schools. I did not go to art college. I had the chance when leaving school to go to Ravensbourne Art College in Bromley, Kent but took up a job in London as a trainee commercial artist more of which is on www.2toneposters.co.uk.. in at the deep end and it was good practical learning. I think if you have something that you have real passion and dedication that is half the battle. Nothing is easy, you have to work at it and take the rough and knocks with the smooth and good times and keep smiling.
As to Cameron I won’t be voting for him or the Conservatives but that is my choice. There should be funding for the arts. The same statements about would there be a job at the end of a 3 or 4 year course in art college were the same when I turned down going to Ravensbourne Art College all those years ago BUT there are some brilliant creatives that come out of art colleges that do art or media or marketing or use those skills in other areas.. some even progress to become great artists or even musicians. I still get a buzz at how art and creativity develops. I only got one O level and took the A level in Art (and drew the wrong bloody thing). Grab life and shake it up.


JETT RINK - Did Jerry Dammers drive you nuts as well?


TEFLON - Hi Jett Rink. No I got on fine with Jerry... Nice guy and talented and does not have to prove himself his songs did that. He knew what he wanted and probably drove people nuts who closely worked with him... just hope he makes up with the rest of the boys and enjoys himself... life is short and its later than we think. Read on a link that he felt left out, not invited, a takeover at a pre reunion meeting. Think the guy needs a lot of love and understanding ... as the song says Bernie Rhodes dont argue


LIAM SKA- Hi John, How much input did you have in the 2 Tone designs and which ones are you most proud of?
What non-2 Tone related work have you done that we may not be aware of? Cheers



TEFLON - Hi Liam. I think I had a lot of imput to all the early work of 2-Tone. Think I answered that in the Special2 interviews but A Message To You Rudy was pure and simple. Rat Race won a design gong so that is good. Ghost Town with David Storey was a classic.
My favourite piece of 2-Tone work...mmm difficult. I liked the first two album sleeves which were designed by Chalkie Davis and Carol Starr and I assisted with overseeing the artwork production. Chalkie brought a blurred polaroid in for More Specials which had the Marketing Dept choking on their tea and biscuits but we got around this by adding the real shot on the album poster. Of my own work with Jerry.. Rat Race was I felt good and received a D&AD Award. It was Jerry who suggested adding the typists arms and hands to the jumping rat... classic stuff. Ghost Town with David Storey was so right but personally A Message To You Rudy was so simple and drawing Walt Jabsco with the trombone as it featured Rico for the first time and Jerry was delighted to have an original Skatalite in the band and Rico was the first to release a Ska record in the UK.... Rico a Special man.


Non related quite a lot of stuff a more commercial corporate stuff (see www.2toneposter.co.uk and www.picturethisdesign.co.uk) but music wise I was involved with most acts and bands on Chrysalis from 78 to 82 and then to 84 at Jive/Zomba and then my own studio Bouncing Ball Design. So covered Leo Sayer, Jethro Tull, Blondie (NME Best Single Design Award), Stiff Little Fingers. Billy Idol, Billie Ocean, Flock of Seagulls, Comsat Angels, Roman Holliday, Tight Fit, Raze, Whistle, DJ Jazzy Jeff and the Fresh Prince and even dare I say it Chas & Dave including the Spurs v Coventry Cup Final single. Also with Bouncing Ball Design with Peter Copley who designed Technotronic and Baby D.
Of course I also designed the first Fun Boy Three album for Terry, Lynval and Neville. I remember in a photo session that Lynval had been set upon quite innocently going home on his own and been beaten up the night before the session. I had the retouchers putting things right as he has some bad bruises. No Photoshop in those days.


DIRTY HARRY -Hello John,
How did you first get into designing for the music industry?
What influence did Jerry Dammer have? What was it like working with him?
What do you feel about the Two Tone work now looking back on it?
Have you been involved with the designs for the current 30th Anniversary Tour?


TEFLON - Hi Harry. My break into the music industry came about via a friend who became Art Director at Chrysalis Jean-Luc Epstein.
I was doing freelance work for him when Chrysalis were in Bird Street, just off Oxford Street in London.
He was suddenly replaced with a guy who was a rep for the ad agency doing ad booking stuff , Peter Wagg. Peter called me into work on various stuff including the Lea Sayer Thunder in My Heart sleeve mock ups and advertising. Chrysalis were on a roll with success hits and and were soon to move it Stratford Place, London. Waggy asked me to become Art Director and he was Creative Director and good friend David Storey joined as a designer a year or so later. Carol Burton-Fairbrother was our P/A but went on to become in charge of Virgin Video
Jerry was the main influence in everything hence dubbed: The General. He was great guy to work with. Tunnel visioned and determined and talented.
I am immensly proud to have been in the background of 2-Tone but being part of it. The songs speak for themselves but I think the art was kind of iconic and went together with the whole 2-Tone thing and it was Jerry and the band that created the template.


James Daley at De-Facto carries the design baton 30 years on and was in touch by email trying to get back stage to see the band at Brixton for old time sake but no joy. Think De-Facto have it all sorted . Would love to meet up again with the Specials boys 30 years on and yeah would love to do a design for them again.



SKACID- Hi John.
On the front cover of the Too Much Too Young 7" there is a skinhead (bottom left) which has been 'added' to the crowd, why was this?

TEFLON - Hi Skacid
Yes we dropped the lad in bottom left. Jerry brought the snap in to the art dept and said the guy was was one of their top fans and went to most of the gigs and deserved to be included. I got Rick Mann to take the crowd shot which I think was at Hammersmith. Rick also took shots for the Selecter album and also probably the last picture of Nancy and Sid Vicious together... not a lot of people know that.


PAUL WILLO - what covers were designed that have never been seen?


TEFLON - Hi Paul. I cannot remember seeing the Lonely Crowd cover. A few preliminary rough sketch ideas for Selecter albums. Most cover designs were pretty much in the bag and ready to go when I was involved with Specials phase 1. Certainly Chalkie and Carol had their two album designs laid out how they wanted them. David may have a few development designs on Specials AKA (part 2) tucked away never seen. I had a brilliant black and white retro radio illustration for "On My Radio" advertising but Neol and Selecter objected saying it had to be as per the 2-Tone template. Will show it in the 2-Tone art exhibitions being planned.


LIAM SKA - Dave Storey has aid that 'Jerry would root out any attempts by John and I to introduce gratuitous design embellishments', can you elaborate on this at all? I know that Jerry certainly had an eye for detail, the small chip out of the 'c' in the specials logo for example.


TEFLON - The chipped "C" on the Specials logo which Jerry implemented I looked for on all the 2009 stuff and stage set but it is sadly no longer there.
I think Jerry pretty much liked what I did and so never really objected to any of my design embellishments. Maybe on Specials part two which David did there may have been things. I’ll have to ask David.
The only things that got booted out was the "retro radio illustration" for On My Radio by Neol of Selecter and I designed the first Bodysnatchers single adverts which had the square checks drifting into round dots and a 2-Tone girl which Neol gave me a right b******ing for. So did not do that again. I also tried a camera angle on the Rat Race video looking from the floor which on playback was s**** so we dropped that. Wonder where that clip is now?



DAN - i liked you in life on mars, what was it life working with gene hunt?
OOOOH John Sims not Jo... oh nevermind

TEFLON - Nice 1 Dan... keep taking the tablets!


SOME OF TEFLON'S GREAT WORK.....
















Teflons latest project for "Love Music Hate Racism"-Superb


JOHN HAS A GREAT NEW SITE THAT IS SELLING 2TONE DESIGNS- GO TO-

www.2toneposters.co.uk
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[Mrs Willo]

Another fascinating interview. Everyone involved in 2tone was so passionate about their craft, I'm not suprised it was such a success!

Cant wait for the upcoming exhibition!
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[Imani]

EXCELLENT STUFF. I really enjoyed that.
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Imani

[TTN]

Strange n it, this is probably the best one so far and he's a Spurs man too - could it get any better .

By the way Teflon, thanks for answering my question - that was the nuts of an answer
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As good today as it was then

[DIRTYHARRY]

Brilliant interview. Thanks for posting.

[Fester]

Great stuff! Cheers Teflon and Willo!

[skacid]

Excellent stuff, makes a very interesting read. Miss Jabsco in the Bodysnatchers ad is one of my favourite different takes on Walt
Thanks for answering my question John
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[dan]

[TTN]

we are not allowed to talk about footers on here - remember - but if we were. They wrote some excellent tunes in their day, and they may well reform when we win something.

so look out for a Chas n dave reunion announcement around Feb next year
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As good today as it was then

[Ally]

[TTN]

[mangeire]

Such an interesting interview. That's the thing about 2 Tone...besides the incredible music, it also had a great image/identity and the bands looked great. It was basically more than just the music. I carved (an attempt at) Walt Jabsco into many a school desk with my compass when I was a kid. And like everyone at that time, tried to find the gear to wear. 2 Tone paid attention to detail in every way which can make all the difference.

I'm stating the obvious, I know
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