Identity / Signage for the building near London's Canary Wharf.
It was designed using two weights of Bebas Neue, which Charlie tweaked to create a simpler “q” and a sleeker, more angled “2”.
A long-term self initiated project where Charlie offers to digitise people’s old camcorder footage for free — on the understanding that he may use the content to create screen / riso prints and new video art pieces.
...was created using Lester, a reworking of Leo which was the 1970s typeface used to design the VHS logo.
Charlie framed the identity with four corners — chosen to represent a camcorder’s viewfinder.
...was built in Adobe Muse using images, photography and video created by Charlie for the project... VIEW SITE HERE
7" vinyl sized publication & front-mounted badge to coincide with Mick Jones' (The Clash, Big Audio Dynamite) extraordinary memorabilia exhibition at the 2015 Venice Biennale. Edition of 600.
Cover: Colorplan 350 gsm
Text: Horizon offset 140 gsm
Print: Full colour non-soya vegetable based litho inks.
A carbon neutral product
Charlie worked as art director and graphic designer with top illustrator Lucille Clerc, who created the sea-monster and the hand-drawn identity.
Wonderful Beast, the Suffolk-based charity behind Storm of Stories knew they wanted something which would represent the family-friendly-yet-slightly-scary vibe of the festival.
After some initial ideas and brainstorming with Lucille she produced this extraordinary illustration — which takes its influences from Aldeburgh (the seaside setting of the festival). It plays on the themes of stories being doorways into other worlds, while the little girl with the frying pan is a character from The Nightingale — their headlining production.
Charlie went on to design posters, tri-fold leaflets, and a new landing page for the WB website which showcases the festival. He is currently working on the programme for The Nightingale, their headline production.
The 1 Leadenhall proposal is a potential new development in the City of London.
In order for a new development to be granted, a property developer must first consult the local public. As such, Brookfield required the design of a series of exhibition boards covering information on various aspects of the development as well as a website reflecting the content of the boards.
Charlie developed design styles for the boards and evolved various maps and infographics for both the boards and website from original files by architects Make.
144 page companion piece to the 2015 exhibition at the Lettering Arts Centre in Suffolk which documents the oeuvre of the little-known English wood engraver and letterer.
It was typeset in Adobe Caslon Pro and ITC Golden Cockerel to reflect the traditional nature of the works within.
Cover: Cairn Almond 350 gsm (recycled) / 2 colour matt foiling
Text: Horizon Offset 140 gsm (FSC certified paper) / Non-soya vegetable-based litho
Edition of 800 | A carbon-neutral product
After working on their Interim Report last year, London Fields creative strategists Reluctantly Brave got Charlie back in to work on the 2015 Annual and Financial reports for Louis Dreyfus Commodities.
The final spreads presented here were worked on by both Charlie and senior designer Mimi Devenish, based on styles developed by both designers.
The cover design is a mockup from an earlier iteration of the design phase and is not the final cover.
Charlie worked with photographer Kaupo Kikkas and developer Nikola Janićijević to achieve an image-led website which would present the right impression of the internationally award-winning Heath Quartet: adept at performing top-quality chamber music whilst also being an approachable and likeable team.
The site was built in Wordpress and thus fully updatable by the quartet with alternative images to suit portrait smartphone format.
An ongoing project working on the marketing material for the independent feature film My Accomplice.
Initially Charlie worked as stills photographer on set, then learned to cut narrative drama whilst editing this film alongside Tom Sands and Martyn Holmes. He then designed the opening and closing credits from an idea by director Charlie Weaver Rolfe.
Charlie then branded the film for its independent general release, designing a range of materials to coincide with its appearance at numerous festivals and various screenings.
Since 2014 Charlie has worked periodically for the Lettering and Commemorative Arts Trust, a charity which offers lettercarving and calligraphy courses, as well as awarding apprenticeships to emerging lettercarvers.
He adapted their identity (from elements created by Gary Breeze and John Miles), designed exhibitions, signage and a wide range of leaflets, banners, posters and printed materials.
Forthcoming publication documenting a collaborative project between artists and scientists on the subject of various forms of hallucination.
Curated by Vassiliki Tzanakou and James Putnam.
80 page catalogue produced for the Lettering and Commemorative Arts Trust's 2014 exhibition showcasing the works of master stonecarvers and their apprentices.
Cover: Dutch grey Board 325 GSM / 2 colour litho
Text: uncoated white 140 GSM / full colour digital
Edition of 400
David Usborne, a former teacher of design, has over the last 30 years formed an extraordinary collection of anonymous objects chosen for their elegant shape and puzzling function. Following the publication of his Thames & Hudson book Objecttivity — A Designers Book of Curious Tools, objects from the collection have been exhibited across the UK, in Portugal and now at the Venice Architectural Biennale.
“How can we symbolise rhythm?”
“With a metronome?”
Super Rhythm Trax is a new imprint from London DJ Jerome Hill which takes its influence from 1980s/90s Chicago house music. The brief for these labels was to design something reminiscent of the artworks that came from that scene at the time. Records were knocked out fast and on a budget with only plain sleeves. Labels were often designed by the recording artists. Over time as distributors and copyright info changed they would look increasingly cut-and pasted together, with badly drawn logos and printing methods so poor that the records looked jaded even when they were fresh off the press.
To achieve a similar effect Charlie printed, scanned and reprinted the label designs several times over so that they had an authentically "grungy" feel. He looked out for the kind of pressing anomalies that can take place such as when offcuts of molten vinyl bleed over the label or a label has been cut off-centre.
The resulting design was handed over as a photoshop template package to Jerome so that he could handle the subsequent releases himself. The package included layers with varying levels of distress which could be applied and advice on how to keep the colour scheme consistent across multiple releases.
Towards the bottom of this page are some original Chicago house labels which inspired the layout and colour palette.
Prototype edition of a book about Charlie's estranged father, the artist Tim Behrens. The 160 page book contains a number of previously unseen photographs and interviews with contemporaries of Tim including Nicholas Garland.
A way of dealing with the shame surrounding my nationality in the wake of the EU referendum vote... Placards made using an A3 printer, fluoro and metallic cardstocks and healthy dose of anger.