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.
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
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
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”.
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’.
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
Designing the publicity materials for my first exhibition reminded me of being a student — no client. I employed one of my current favourite typefaces — Moderat c/o the super-innovative Tighttype.
It was a considered process to achieve the free catalogue cover on a tight budget since the artwork — a VHS screen print using a lot of fluoro pink and some vibrant turquoise — employs colours well out of range of the CMYK gamut. Extensive photoshopping and the choice of silk stock for the cover ensured a close-enough result.
The vinyl lettering was installed by the excellent Puck Studio.
For more info about Charlie's arts practice visit his other website here.
Group fine art exhibition funded by the London College of Fashion. The artworks formed the basis of the simple marketing materials, which included banners, posters and a folding exhibition guide.
The image chosen for the 3 metre banner (top) is literally the work of a force of nature; the artist Cameron Robbins creates drawings with a pen connected to a natural wind-turbine driven contraption.
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
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.
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.
“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.