This Julien Temple documentary chronicles around 3000 years of Ibizan history.
Ironically titled owing to it’s pounding rave soundtrack selected by Fatboy Slim, the story is told entirely without dialogue. True to the traditional silent movie technique, the graphics team led by Jonny Halifax played an integral role in weaving the film's narrative since the whole story is told by animated intertitles which change thematically throughout the film.
Through a playfully critical lens, the film charts multiple swathes of visitations to the island — from Phoenicians to ravers via hippies and beatniks.
A BBC Films / Silver Reel production in association with Cornerstone Films.
Graphics / Art Direction: Jonny Halifax
Additional Graphics: Charlie Behrens, Martin Kingdom, Justin Taylor, Robert Greene
Editor: Caroline Richards
Colourist: Gwyn Evans
Cinematography: Violetta D'Agata, Steve Organ
Producers: Richard Conway, Andrew J. Curtis
Director: Julien Temple
David Usborne exhibits his collection of obsolete scientific objects as artworks. After donating his collection to UAL in 2016, an exhibition was held in the public area of Central Saint Martins to celebrate it.
Images show the initial branding routes applied to invitation mockups through to the printed exhibition guide and vinyl lettering installed by the excellent Puck studio.
The 1 Leadenhall proposal is a new tower in the City of London.
Charlie created the infographics, website and exhibition boards which led to a successful public consultation.
80 page exhibition catalogue turned around from initial meeting to signoff in six days for Gavin’s November 2017 Milan exhibition.
The works on show are all appropriated responses to iconic works of art by modern masters. As a playful quirk, the catalogue — which in design terms plays it straight — would sometimes show's an original work (such as Yves's Klein's Blue Monochrome) while in the show there would Turk's version response to the piece.
As testament to this appropriation the cover plays on the cover of the second edition of the classic text on semiotics ‘Ways of Seeing’.
Designed for The Cob Gallery who had an excellent exhibition at the beginning of 2019 showcasing miniature works by a fantastic range of artists — From Turk to Picasso via Nina Mae Fowler, Tristan Pigott and Idris Khan.
In keeping with the miniature concept, the 10 x 15cm catalogue is supplied with a magnifying glass to aid the reading of the 6pt type.
Collaboration with stunning illustrator Isabella Cotier. This hardcover book is essentially a how-to autobiography by the avant-garde prankster and celebrity hustler Nimrod Kamer. When he's not wrongfooting Theresa May or Nigel Farage, Nimrod is known for his irreverent journalism for Vice and GQ.
The book will be printed in 3 spot colours for a punchy and reductive colour-palette which stemmed from colours from Isabella's original illustrations of Nimrod.
Published by BIS, Amsterdam
Collaboration with NY-based fashion photographer Cameron McNee for the bi-annual print edition of Highsnobiety magazine — which ran with the concept Old and New. Charlie used his authentic VHS print-lab to process images from his own Magnetic Memories project with Cameron's images for the publication. These were layered with Cameron's digital photography.
The web version of the article can be found here
Images towards the bottom are outtakes from the project
Analogue Projects 2017-2019
Music: 'Cecilia's Fruit' by Praveen. © Neo Ouija
Select personal projects from 2017-2019. Full details can be found on my arts website.
Future Proofing (2018 – Ongoing)
The terms and conditions of Facebook and Instagram are displayed as scrolling loops on a series of CRT monitors. Here, old technology critiques the new. The Instagram ts&cs are overlaid with questions around whether the user is attaining their goals or the quality of their mental health. The Facebook terms are overlaid with quotes from their campaigns, which use amicably familiar language to create a sense of empowerment in the user.
Collaborator: Tomas Jefanovas
Three screen installation piece submitted to the Whitechapel London Open. The piece reflects on how social media echo chambers and the dark ads of the Leave campaign contributed to the 2016 referendum result. In the centre screen, distorted typography from the Vote Leave logo comments on the scarcity of truth in the campaign.
DoP: Dougal Wallace
Actors: Stephane Magloire, Chris Hamilton
Are you the Product? (2019)
Extracts from the pitch video for a forthcoming installation at Shangri-La, Glastonbury. It runs super-saturated typographic loops and a night-vision enabled Hi8 camcorder which is fed through an analog video synthesiser. If users are tempted to take selfies during the process, the content of the surrounding screens will highlight the irony of how we often wilfully give up our data to faceless internet behemoths.
Collaborator: Dave Stitch
Magnetic Memories (2017):
In 2016 Behrens offered to digitise publicly submitted camcorder footage for free — in exchange for the rights to use the images to create new artworks. Through a combination of screen prints and short films, Behrens sought to explore the gulf between the original authors' recollections of their content with the realities of their footage.
Footage in extract submitted by: Danielle Otnes
Twin exhibition catalogues for two shows commemorating the fiftieth anniversary of the Snape Maltings Concert Hall — the arts centre founded by Benjamin Britten.
Both shows — funded by The Lettering Arts Trust and curated by Mark Frith — were themed around lettering and music.
As well as designing the catalogues Charlie art directed the calligraphic identities designed by Rosella Garavaglia.
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”.
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.
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
“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.