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Grafix Originals, London (2026)

19/07/2026

Just Keep Showing Up | SPEC Commercial (2024) 🏀

This was a very different project for me to commit to, as it was not only the first SPEC Commercial I had worked on, but also the first time I was working on a sports visual, one that included the persistence and pace of practice, alongside the frustrations and sharp-sighted focus that come with it.

These stimulating experiences are captured consecutively through cross-cutting montage techniques, accompanied by an adrenaline fuelled score that tells a short compelling story of a young Basketball player who contends with herself; to become the best she can be on the court.

When designing the title for this commercial, I avoided display typography, as I felt it would greatly distract from the bold black and white visuals, that make this story of encouragement so full of colour.

Therefore, keeping text bold was the initial goal. I trialled various typographic iterations from transparent titles, drop shadows, to thin and bold lettering. I did not want these bold titles to stagnate the pace of the visuals, by being too rigid. This is where positioning and hierarchy became a dominating factor, designing a title that blended with the sporty, visual identity.

Moving away from these more obvious bold titles; as are often seen in Nike/Addidas commercials, I instead chose to explore serif fonts to create a more unsuspecting identity for this project.

Although it did not have as much of a striking impact as the bold title outcomes, it did blend more softly into the background. Communicating both the detail and stern discipline of practice, as opposed to it being an oppressive and rigid weight.

To conclude, I am very thankful for the opportunity I had to work on this commercial and hope to expand further within this field.

All the best,
Charles Oliver,
Founder of GRAFIX Originals Ltd®

Directed by mambane and SEABO

Produced by Abdoulah M-Jones

Director of Photography: Michael Tebebu

Editor: Rowan Copeland

06/07/2026

The Loved and Lost (2024) | 🏅x1

Being given the opportunity to design for the award winning 2024 short drama/romance, The Loved and Lost (Winner of 2024 BFI’s Most Inclusive Award) was refreshingly elevating for my design skillset.

This was the first Romance Film I had worked on and therefore, found myself challenged with producing a title that coherently communicated this romantic flare; along with its themes of grief, connection, and identity.

To begin with I utilised the films environmental factors as my springboard, collaborating with the amazingly talented Lidiyart to conceptualise a highly decorated typographical piece.

As seen in the post, we responded with a title with rose-covered lettering and entangled in nettles, using varying colours and textures to express different narratives. For example the stone texture is used to imitate a headstone engraving, with the ‘Loved’ title covered in Roses - representing life and the ‘Lost’ title covered in Nettles - representing death.

However, the Director requested a minimalistic approach should be taken, moving away from bold, illustrative storytelling. Deconstructing this highly decorative title into an extreme minimalist sequence was a challenging task, as I had to reimagine an outcome that no longer used such literal semiotics.

I overcame this next step, by reverting to the titles original file, combining select illustrative assets (originally featured) with minimalistic typography.

I was not keen of this new outcome, as it felt too sterile for the films genre and thematic messaging, however, I was able to appreciate that the first outcome was equally cluttered.

Although I was unable to find a happy medium with this title, I was able to learn more about my craft outside of being an intrinsically thematic designer, exploring my approach to more minimalistic composition.

Directed by the detail-oriented Lewis Wint

Original poster designed by Kervin Brisseaux

Original title decoration illustrated by Lidiyart

Thank you for the opportunity! 🙌🏻❤️

All the best,
Charles Oliver
Founder of GRAFIX Originals Ltd®️

06/07/2026

The Loved and Lost (2024) | 🏅x1

Being given the opportunity to design for the award winning 2024 short drama/romance, The Loved and Lost (Winner of 2024 BFI’s Most Inclusive Award) was refreshingly elevating for my design skillset.

This was the first Romance Film I had worked on and therefore, found myself challenged with producing a title that coherently communicated this romantic flare; along with its themes of grief, connection, and identity.

To begin with I utilised the films environmental factors as my springboard, collaborating with the amazingly talented Lidiyart to conceptualise a highly decorated typographical piece.

As seen in the post, we responded with a title with rose-covered lettering and entangled in nettles, using varying colours and textures to express different narratives. For example the stone texture is used to imitate a headstone engraving, with the ‘Loved’ title covered in Roses - representing life and the ‘Lost’ title covered in Nettles - representing death.

However, the Director requested a minimalistic approach should be taken, moving away from bold, illustrative storytelling. Deconstructing this highly decorative title into an extreme minimalist sequence was a challenging task, as I had to reimagine an outcome that no longer used such literal semiotics.

I overcame this next step, by reverting to the titles original file, combining select illustrative assets (originally featured) with minimalistic typography.

I was not keen of this new outcome, as it felt too sterile for the films genre and thematic messaging, however, I was able to appreciate that the first outcome was equally cluttered.

Although I was unable to find a happy medium with this title, I was able to learn more about my craft outside of being an intrinsically thematic designer, exploring my approach to more minimalistic composition.

Directed by the detail-oriented Lewis Wint.

Original poster designed by Kervin Brisseaux

Original title decoration illustrated by Lidiyart

Thank you for the opportunity! 🙌🏻❤️

All the best,
Charles Oliver
Founder of GRAFIX Originals Ltd®️

25/06/2026

🎬 Unreleased

Unlike previous film projects which I have constructed early title designs and materials, I was asked to join the production for the 2024 short film A Cup of Chai, during the much later phases of its conception. 🍵

Early ideas had already been produced
by the extremely talented designer, , who captures the films thematic elements of warmth, turmoil and fracture - through typographic calligraphy, illustrative tonalities and vignette poster work. Offering a retro-ornate style to the production, reflecting South Asia’s cultural elegance, alongside its traditional/domestic lifestyle, which Director and Producer .surti.film have captured so genuinely.

The film aims to empower young South Asian women to engage in a healthy open dialogue with their parent(s), who may otherwise be operating off their own generational tradition. In this specific instance, the narrative focuses on the relationship between a Mother/Daughter.

To be invited onto such a culturally significant production, as a British Caucasian Male Designer, I was honoured to work alongside such an insightful, socio-politically aware director; whose detail-oriented craftsmanship educates with perspective in the telling of this story.

Therefore, to be challenged with the task of transitioning existing, relevant materials/designs, into the films available BTS, I had to ensure I did not tarnish what had already been accomplished.

Rather than clutter the title with digitalised textures/smart objects, I decided to honour the vintage style Johnson had produced, adapting its positioning/structure slightly.

Posters I produced used a range of grid systems, typographic/image hierarchies and positioning to amplify the visual languages of Johnsons illustrations, and Mya’s narrative.

A Cup of Chai is an invaluable story, that navigates viewers through a day in the life of a South Asian woman’s experience with family, romance and independence.

All the best,
Charles Oliver
Founder of GRAFIX Originals Ltd®

Directed by:
Produced by: .surti.film
BTS Photography: Alexander

14/06/2026

🌻 Lidiyart® | Flowers & Seeds [S1] 🌻  Collaborating once more with the vibrant and whimsical Lidiyart®, this time producing a series of Flower/Seed packets for green fingered enthusiasts, or those wishing to expand their gardening experience.

The array of illustrated carnations featured within this post have each been harvested personally by Lydia - sown and handpicked for you and yours to build your own sprawling forests of colour. 🌈

As an extension of the Lidiyart® brand - which typically focuses on bespoke and decorative gifts - this product offers a unique, sustainable cycle that gives something back to nature. 🌲

Being a brand that primarily relies on paper-based materials, Lidiyart® aims to implement further sustainable marketing strategies such as this, to maintain the natural world in which we all rely, giving consumers the opportunity to contribute to this effort.

What makes these products so effective, is the relevance they maintain to the overall Lidiyart®ethos, which prides itself on integrity, patience and longevity. The day you plant the seed; is not the day you see it blossom. Lidiyart® instils a refreshing story of sustainability.

I wanted to capture this organic flair through the designs shared with me for this project. In doing so, I imported the original illustrations/titles into Adobe Illustrator, image tracing the designs to ensure each vectorisation retained the original hand-drawn quality. Each title and flower offered me a new and exciting vibrancy, through the design and colour scheme processes.

Every packet has its own authentic identity, connected by the traditional thread of Lidiyart® stylisation – such as the hand-drawn font named: *Corncockle-Regular* & *Corncockle-Bold*.

These are the first of many Lidiyart® Flower/Seed Packet instalments. Keep an eye out for more coming soon!

For now collect yours today from the LidiyartGallery Etsy shop!

*Etsy Shop: Link in Bio*

I had such a fulfilling experience working on these packets! Looking forward to more opportunities to come!

Illustrator: Lydia
Client: Lidiyart

All the best, Charles Oliver Founder of GRAFIX Originals Ltd®

05/06/2026

‼️ MENTAL HEALTH AWARENESS | Access Cards ‼️

Psychosis is a visceral experience that recently made itself known to me upon witnessing the debilitating torment in which it inflicted upon a loved one; someone who has already endured so much at such young age.

Fortunately, we have since been guided by the tremendous Tower Hamlets Early Intervention Service (THEIS), East London NHS Foundation Trust, however, not all cases of psychosis are met with such urgency and understanding.

For many, their experiences may be ridiculed, considered overly sensitive and dangerous. Couple this stigma with an individual’s diagnosis of OCD, Schizophrenia, Bipolar and this leaves psychotic individuals with little chance to share their vulnerabilities openly.

With this topic being very close to my heart, I wanted to amplify the medical information leaflets provided to me by the THEIS and apply design strategies that can share this important information through visually digestible accessibility cards.

By presenting a full range of symptoms on these cards, the individual experiencing the psychotic episode(s) – who may also become inaudible/verbally impaired during its intensity – can clearly communicate their internalisations, by displaying the cards to their friends, families, guardians, or carers.

For example, the cards I made for this individual case required me to distinguish which psychotic symptoms were triggered by intrusive thoughts/voices and which were natural concerns that could spiral into a trigger.

These cards (as shown) can be customised for any case of psychosis, with the purpose to educate and spread awareness, destabilising stigma around such a common, formidable experience.

Bearing witness to psychosis and the psychological reparations it can inflict, has been a journey of patience and presence. I want to extend my appreciation and special thanks to Care Coordinators and Therapists of THEIS at East London NHS Foundation Trust, your work has been and continues to be remarkable.

Please like and reshare this to as many people as you can to spread awareness! 🙏🏻

Thank you so much for reading!

Chazz ❤️

16/04/2026

I am excited to share with you my typographic title design work from the 2024 Short-Film, Logos 👀😁

Different to my previous title projects, Logos was the first official title I made that included a Layer Mask.

Utilising the incredibly sharp BTS works of the project, I was able to visually construct a narrative for my title that expressed coherent themes of dystopia/post-apocalyptic futurism. 🌎🤖

Without ever having watched the film, the BTS alone informed my outcomes, inspired by similar existing post-apocalyptic worlds as seen in Fallout, RAGE, and Borderlands. The Old English title that is used in this post was a comparison of how various typefaces can translate onto media that may be of juxtaposing content.

I would not typically associate calligraphic writings with futurism, however, this direction was of curiosity to me – therefore, this post includes an assortment of the two variations. Logos was my first title design that required me to think less about external typographic displays, and more about how I could make a title appear icy, barren and clinical.

Using various backgrounds, textures and objects (all taken from the original BTS photographs) if you look closely at some of the titles, you can make out these environments within the lettering of the designs. This warping of imagery captures snippets of reality in a dream state, donating itself to Logos the Greek term - which refers to a spiritual principle that permeates reality.

I was able to construct an array of calligraphic/futuristic titles that blended with the films promotional materials well.

I really enjoyed producing the title for this project! It was different to my usual methods of designing, but a great opportunity nevertheless! 🙌🏻❤️

All the best,
Charles Oliver
Founder of GRAFIX Originals Ltd®

Directed by: .film
Produced by: .creative
BTS Photography: .img and Thomas Syddall

*Disclaimer | Old English title that is used in this post was not produced by GRAFIX Originals Ltd® however, its typographic layer mask alterations were.

25/03/2026

🔘 Brief Name | Art in Motion
📍Brief by: London Art Fair & XPENG UK

In response to the London Art Fair/XPENG UK ‘Art in Motion’ competition brief, I produced an outcome that exhibits innovation in motion, through a seamless process that blends concept into reality. 🌍

As demonstrated, the right side of the composition depicts a technical blueprint, that represents the engineered hardware used to conceptualise the vehicle. This blueprint can be tracked from a gradual transition into a fully rendered illustration, encapsulating movement, turning an idea into manufactured reality. 🚗

Using concepts of space-time physics and gravity, the blueprint grid bends into reality, indicating how innovation is an idea pulled forward into existence. This transformational design actively takes viewers through the vehicles journey of technological evolution, pairing XPENG systems with human experience.

Alongside these immersive attributes, I digitally traced the original XPENG logo, subtly injecting it throughout the composition. Acting as a visual pulse, these motif interpretations appear within wheel patterns and background structures, encouraging viewers to discover more within the product, reinforcing the brands’ identity and precision.

Sequentially, these interpretations were also used to reveal profound scientific metaphors of movement.

For example, the series of directional arrows in the background mimic the Blueshift/Redshift phenomenon in physics; whereby light alters depending on an object’s movement, relative to an observer. Blue arrows behind the vehicle, simulate headlights moving toward the viewer. Whilst the Red arrows traverse over another. Imitating both the distant glare of fading taillights and the airflow of the G6 model, seen cutting through the field of motion.

To conclude, this multi-layered design applies a reddish-yellow colour scheme to reference the vehicles Chinese heritage, as it strives toward innovation, translated through motion. This brief was incredibly stimulating to work on and I look forward to seeing the winning outcome next month.

Many Thanks,
Charles Oliver
Founder of GRAFIX Originals Ltd®

Grafix Originals

19/07/2026

06/07/2026

06/07/2026

25/06/2026

14/06/2026

05/06/2026

16/04/2026

25/03/2026

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