A Career Grows in Brooklyn | Ingrid Carozzi | AAS GD 2007 |

ingrid_spreads_3We are proudly announcing the launch of Ingrid Carozzi’s new book “Brooklyn Flowers”. It was released on May 5th and was produced by one of largest publishers in Sweden, Massolit Förlag. It is a beautiful and highly informative instructional book containing simple flower arrangements made with methods used at Tin Can Studios. There are also lots of images from the Tin Can Studios as well as street scenes from the Brooklyn neighborhoods around the Studio such as Red Hook and Williamsburg. The gorgeous photographs were all shot by the critically acclaimed photographer Paul Brissman who used a Hasselblad, the professional photographers’ favorite tool. Eva Nyqvist was the co-author, who writes for a wide variety of publications such as Elle Decor and Gourmet. Sadly for us New Yorkers it is only available in Sweden for now but is being currently translated into German. There is already talk about books two and three…

Conversation with Ingrid Carozzi

Ingrid Carozzi has been gaining momentum since she graduated from Parsons and shows no signs of slowing down. Her successful flower design studio based in Brooklyn, with a second location coming on line in her native Stockholm, has orders through next year. She is currently booked through 2016 with TV appearances, an executive women’s conference, and an event for the largest auction house in Sweden. Some of the country’s highest profile companies are among her clients.

Ingrid Carozzi in front of her studio in Red Hook in Brooklyn
Ingrid Carozzi in front of her studio in Red Hook in Brooklyn

Ingrid credits Parsons for a great deal of her success. “Without Parsons, I would be nowhere,” she says. “I learned how to communicate well and how to critique work without offending others. This helps me with business because talented freelancers are very happy to work for me.” Her Parsons training also fortified her color strength, an essential talent in working with flowers. “I understand the properties of color — hue, value and intensity — after taking a great color theory course with Kelli Glancey.”

Color Theory Applied
Color Theory Applied

She also was able to improve her sales and marketing efforts as a result of becoming a solid photographer at Parsons in my Process and Skills class. “You can create the most beautiful floral arrangement in the world, but if you cannot capture it, it won’t matter how good you are.” 

 “You need to know how to brand yourself,” explains Ingrid. “My experience in graphic design was essential for my success. I am able to design, build and update my website as my business blossoms. As a former PR person I know how to market myself, too.  These are all things that Parsons helped me to understand. It really is one of the best design schools in the world”.

Ingrid-flowers-comp-01

After graduating from Parsons, Ingrid was presented with a slew of freelancing opportunities. It was a request from a former colleague from the Swedish Chamber of Commerce (SACC) that led to her watershed moment. “SACC asked me to come up with some ideas for floral arrangements for the Royal Green Award Gala Dinner at the Mandarin Hotel which was attended by the King and Queen of Sweden.” At the time, she had been designing business cards and branding for a salvage wood company called Recycled Brooklyn. Since she had access to a plethora of farm crates she had the idea to use them as the vessels for her flowers. When Ingrid brought in her arrangements, fate intervened: the executive chef had, unbeknownst to Ingrid, created a menu that matched her arrangement, even using some of the same ingredients such as crown dill and rosemary.

“I was hesitant, because at the time I wasn’t a florist. I was a designer, but I never say no to a challenge. After that I realized this was something I really love 100%,” says Ingrid. “Once I got started, I knew this was something I should have been doing all along. I launched Tin Can Studios a year later.”

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Press

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Ingrid Carozzi, who sources her dahlias and anemones from tristate farms, leans wild and loose, using “blender” flowers like ranunculus to unify her high-contrast bouquets. To contain them, she forages vintage measuring cups, test tubes, and wine bottles—often from Dead Horse Bay. While Carozzi focuses primarily on weddings and corporate events (Cointreau and the Pierre Hotel are clients), she’s more than happy to accent your desk or dinner table. All South Brooklyn orders are delivered by bicycle.

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Upcycling is the M.O. of Tin Can Studio’s Ingrid Carozzi, based in Red Hook, who recently published Brooklyn Flowers in her native Sweden. Some of her most collaborative wedding projects have been with clients who have provided vessels from their personal collections for her to work with. “There’s more character, and history [that way],” says the florist who regularly transforms everyday objects like wine bottle or tin cans into vases, and who’s been known to handcraft wooden crates from repurposed wood and dig up old bottles from landfills. These choices are responsible as well as aesthetic. “I love the contrast of the patina of something old with new, fresh flowers that are so alive,” says Carozzi whose services include arriving at the end of a wedding to disassemble arrangements and “turn them into mini bouquets to be passed out when guests leave. It is so lovely when people can bring a little piece of the wedding with them.” Here, from Tin Can Studios, wedding flower inspiration for brides-to-be with a feeling for history.

TV

Ingrid TV_1

TV4 Sweden

Interview and edit: Katarzyna Gruda
Guest Editor: Certainly Studio
Photography: Paul Brissman, Ingrid Carozzi & Katarzyna Gruda

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Charles Harbutt | 1935–2015 |

“I don’t take photographs, photographs take me.”

Charlie Harbutt died on June 29th exactly one month shy of his 80s birthday.

Office of the Dean sent the following message:

Dear Colleagues,
 
It is with great sorrow that we inform you that Charlie Harbutt, long-time faculty in the Photography program, died earlier this week.  We will host a memorial service for Charlie in the fall, and will follow up with the details when available.

Having taught at Parsons for more than twenty years, Charlie was deeply respected and loved by his students and colleagues. His mentorship influenced generations of young photographers, and the faculty he worked with benefited from his decades of experience and open presence on campus.  We feel this loss deeply, and are grateful that he leaves us with a lasting legacy through his contributions to his field and to his community. We wish strength and comfort to his wife, the photographer Joan Liftin, his family, and all those he inspired throughout his time at our school.  

Departures and Arrivals,  Publisher: Damiani (2012)
departures and arrivals, Publisher: Damiani (2012)
From the introduction to departures and arrivals:  “Gradually my pictures became more about what I felt in my day-to-day wanderings and not so much about subject.  They started to be about the shapes and forms I was seeing and drawn to, suggesting a content different from their subject matter. Such pictures were like gifts from a buried self, glimpses of who I was and what I felt. Photography for me, when I’m working well, is all point and shoot.  I’ve tried a lot of things, some in the darkroom. But what I like best is that however the picture is made, it’s a surprise to me when I see the photo come up in the developer. My all-time favorite was taken on the Rue du Depart near Gare Montparnasse railroad station in Paris because it was so different from what I remember shooting. It was at once a departure and an arrival.”

Other books by Charlie Harbutt

America In Crisis (1969) (contributor and co-editor),  Progreso, Navarin Editeur, Paris, 1986
America In Crisis (1969) (contributor and co-editor), Progreso, Navarin Editeur, Paris, 1986
I Grandi Fotografi Editoriale Fabbri, Milan, Italy: 1983, Travelog, MIT Press, Cambridge, 1974. Arles award: Best photographic book of 1974 
I Grandi Fotografi, Editoriale Fabbri, Milan, Italy: 1983, Travelog, MIT Press, Cambridge, 1974. Arles award: Best photographic book of 1974

Since this is a Process & Skills blog we took the liberty of adding Charlie’s syllabus:

PUPH 2545 A CRN 6585 Spring 2013

Course Description:
Most photographs, whether student, fine art or commercial are made by the traditional art school method: define concept, a pre-visualization, then execute that vision with taste and elegance in some medium. The goal is TOTAL control. For over a century now, artists in almost every medium have disputed this approach: John Cage in music, Martha Graham in dance, the Surrealists and Dadaists with automatic writing and chance juxtapositions, William Burroughs notebooks, Jackson Pollock’s dribbles.

In photography, the box camera originally had no viewfinder, which made such control impossible. Inspired by the weird, but inventive compositions that resulted, photographers using its successor camera, the 35mm, have explored this new approach and some of their discoveries were adapted by their view camera brethren. In their attempt to describe their approach, some photographers say the proper state of mind is to be as blank as the piece of film or as open to discovering images as the lens, which makes pictures all the time. The photographer chooses which ones to preserve on film. This method introduces chance, spontaneity and time into the visual media in a new way. And this has often led to metaphor, as in Steichen’s equivalents. This class will study such spontaneous photographers as they have worked in fine arts, documentary and commercial photography. But primarily it will aim at helping students to produce photographs by this method.

Course Outline:
We moderns trust the pragmatic, logical, “rational” mind more than the intuitive and poetic, even when making art. In schools, we are asked to do assignments, to take a problem and solve it, to execute a concept in some medium. As photographers, we go out “looking for pictures.” That often means looking for moments in the world around us that remind us of pictures we’ve seen in coffee table books or chic magazines. In a way we’re looking at the world with blinders.
Like our eyes, cameras can see and make pictures of everything. You can use the camera, as the poet William Burroughs did, to discover what’s on your mind, even your subconscious. In the process, you might discover ideas you’re more comfortable with or ways of making pictures.

instinct – 1. a. The innate, complex, and normally adaptive aspect of behavior.
b. A strong impulse or motivation

metaphor – A figure of speech in which a term is transferred from the object it ordinarily designates to an object it may designate only by implicit comparison or analogy, as in the phrase “evening of life”

“More profoundly and at times negatively, the way art is experienced has changed. Conceptual Art has encouraged the assumption that every object, every picture, even every abstract painting tells a story – that it carries within it some kind of narrative, meaning or “subtext.” Equally ingrained is the more limiting expectation that all this meaning is primarily intellectual and easily reduced to language, that art as an entity is completely explainable. We owe to conceptualism years of one-lined artworks in all media – the “I get it” school of esthetic experience. This condition has caused a permanent confusion of content with subject matter, to the continuing detriment of both content and form. Too often, art that lacks an explicit subject is thought to without content and dismissed.”

–Roberta Smith, The New York Times

Editor: Katarzyna Gruda

A better world by design

 

Jim Wagner | AAS GD ’04 | Certainly Studio

For Certainly Studio, it’s good business to work with businesses that do good works. The studio provides a wide range of design to many clients, but the heart
of the operation is in collaborating with organizations and corporations who are making the world better.

There are many people who follow a game plan for their careers — they know what they want and they go after it. Jim Wagner was not one of those people… immediately. He came late to design after working in television for 20 years. And it wasn’t until he graduated from Parsons in 2004 that he began to actually think about how he was going to earn a living in New York from the passion that came with his newly acquired skills.

Three-Logos-Wagner_01

“I really hadn’t even considered what I was going to do after graduation. I went on a few interviews and met with recruiters and decided that I just wasn’t going to be a good pool designer in a big studio,” confessed Wagner.

So he doubled-down and started his own company, Certainly Studio. He came to that decision while in Asia in 2004, and upon his return, met with a mentor, the ABC News anchor Charles Gibson, who asked him some pivotal questions. He wanted to know how Wagner’s design studio would be different from the thousands of others out there, and how he planned to build on his reputation as a responsible and creative manager.

“They were good questions. And frankly, they provided the framework for my business plan. Since my first degree was in journalism, I really cared about the message. And with my second degree in design, I felt like I was able to meet my clients’ needs wearing two hats — a powerful combination.”

His company’s philosophy is that content is made stronger with good design; and design is made stronger with good content. Taking a step at a time and going in the right direction is more his style.

Three-Logos-Wagner_02

“If you’re headed somewhere that you want to go, or like how today feels, then tomorrow is probably going to be just fine.”

It sounds passive, but for Wagner, being rigid when it comes to design is not a good process. One must to be open to opportunities and take advantage of circumstances as they present themselves. So what direction did Wagner’s studio path take? Working for clients who have agendas that mirror his own set of beliefs and causes. For firms that like to collaborate and do important work. And with people who are respectful and at the top of their industries.

“When you start out, you take every job because you have no choice. But, as you grow and develop, you are able to be more selective about who you work for and what you care about.”

These decisions have resulted in Certainly having a core of extremely smart clients who are passionate about their work. These companies and organizations are truly changing the world.

For instance, Certainly works with the American Committee for the Weizmann Institute of Science. They really ARE changing the world. The Weizmann Institute campus is in Rehovot, Israel. They employ around 3,800 scientists, graduate students, highly skilled research technicians, and the staff which supports them. They come to work every day with the goal of solving the most challenging problems facing humankind: global warming, world hunger and malnutrition, cancer and other diseases, safety and security, to name just a few. For more than 60 years, the Weizmann Institute’s curiosity-driven scientists have made thousands of landmark breakthroughs, and they continue to strive to make thousands more. Supporting this kind of work has really been not only gratifying for Wagner and Certainly Studio, but it also provides collaboration with extremely gifted people doing important work.

Weizmann Institute Annual Report

Certainly has also forged a very meaningful and long-term partnership with the SLE Lupus Foundation / Lupus Research Institute. These organizations are on the cutting edge of Lupus medical research and are known for their innovative approach to research and patient services.

“When you walk into their offices, you feel their passion; you sense their commitment. Every member of the staff is
laser-beam-focused on curing Lupus. So to help these passionate people position and package their important messages with great design is truly an honor.”

 Lupus_Lockup_REV

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Certainly’s client list includes many other non-profit organizations who do amazing work including the Women’s Forum of New York and the YMCA of Greater New York. Certainly also works with many prominent businesses that are doing mind-blowing things in the private sector.

One stand-out relationship is with the Economic Cycle Research Institute (ECRI). Certainly has worked with the New York-based company for more than four years.

“You just can’t imagine the brain power in their offices. It was intimidating at first, since the principals of the company are truly geniuses.” Their mission is to forecast turning points in economic growth and inflation for their clients. Needless to say, I had to do a LOT of homework before our first meeting,” explained Wagner.

 ecri Logo

“Certainly has provided brand and design support to ECRI over the years and attempted to make their brand as strong as their intellectual product. Which is a very tall order. But I’m proud to say, that their phenomenal success and branding have been in lock-step and provides Certainly some of our most rewarding design pleasure,” admits Wagner.

Wagner and his team have won many awards. Yet he says the pleasure that comes from working with smart people on meaningful projects is a much bigger source of pride for Certainly Studio.

AWARDS_CERTAINLY_Logo

 
 

American Graphic Design Awards (12)
Broadcast Designers Association (1)
Promax International Awards (5)
Daytime Emmy® Award (1)

Interview and photography: Katarzyna Gruda

The peerless typographic skills of Hermann Zapf

John McWade
Senior Staff AuthoR, lynda.com at LinkedIn

Hermann Zapf, a giant in the world of type design, died on June 10, at 96. He is best known for his typeface Palatino. Zapf also designed the famous typeface Optima, which in the 1950s was revolutionary for being a sans-serif with roman type characteristics, and which you can see (one among countless places) on the Vietnam Veterans Memorial wall. Other Zapf designs include Melior, Aldus Nova, Zapfino, and even Zapf Dingbats.

Below is a grainy 19-minute interview filmed by the Hallmark company in what appear to be the early 1960s, giving a glimpse of his astounding lettering skills.

 

At the top of this post, a still from the film shows the typeface Melior as he’s lettering it freehand! Who else can write in typography?! Below is the widely available digital version, which in the translation to digital has lost the original’s gracefully cupped serifs (easiest to see at the top of the letter l), making it plainer and less beautiful.

Editor: Katarzyna Gruda

Spotlight | Jennifer De Klaver | Featured on NBC Today Show | AAS Graphic Design Alumna

After graduating from the University of Washington with a degree in Business Administration, Jennifer began working in corporate events. However, it was during her time as a flight attendant for Alaska Airlines, that her interest in design became re-invigorated. She started working on some of her own design projects and realized she wanted to formalize her education. After some research, she found and was accepted to the Parsons AAS program and headed to New York. “I was riding by in a taxi”, she said, “and as we passed Parsons I said to myself, I’m going to go there”. And sure enough she did!

Shortly after graduating from Parsons in 2005, Jen started her own design company in New York and quickly gained a following of clients such as Colette Malouf and the Chelsea Art Museum. With her increased notoriety, she was contacted by Target, who offered her a job as senior art director at their headquarters in Minneapolis. It was there that Jennifer found her stride. Working at Target gave Jennifer the opportunity to have a hand in many aspects of design, including creating catalogs, directing of photo shoots, collaborating with designers and leading castings in New York and Los Angeles. She also headed up some of the larger campaigns such as Club Wed, and was a part of the “Big Idea” committee.

Target catalogs
Target catalogs
Target Valentine's Day
Target Valentine’s Day

With all the expansive knowledge she gained while working at Target, and after a brief tenure as VP of operations at an online invitation company in Los Angeles, she became Creative Director for the Canadian clothing company Joe Fresh. It was her team that was tasked with launching the brand in the US, and she oversaw the re-branding of the website, gave extensive photo direction, and made Joe Fresh a staple in the US, all in less than six months!

Joe Fresh web
Joe Fresh web
Joe Fresh home
Joe Fresh home

In her next position as VP of Creative at West Elm, Jennifer led a team to develop monthly catalogs, digital design, packaging and signage.

West Elm Catalog

Most recently Jennifer’s entrepreneurial spirit kicked in and she launched together with business partner Jen Worthington, bella j.  , a lifestyle beauty / gift brand of over 25 beautifully packaged products that are sold online, at Nordstrom and various boutiques. The brand is playful and colorful and comes to life with Sujean Rim‘s illustrations (another Parsons alumni). Inside each product is a hidden charm with some of the candles even containing a $10,000 diamond necklace – its the Cracker Jack / Willy Wonka of beauty gifts! They even sell notebooks in some beautiful patterns which are great for sketching! Parsons students take note!

bella-j. advertising campaign
bella-j. advertising campaign
bella j. advertising campaigne
bella j. advertising campaign
bella-j. packaging
bella-j. packaging

Here are bella-j. candles on the Today Show as Jill Martin’s featured choices for Mother’s Day perfect gifts!

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new

For those people who are interested in taking a left turn in their career, Jennifer is a shining example of what can be done with a little bit of bravery and a lot of creativity. “I learned so much at Parsons AAS Graphic Design and was inspired by some so many of the professors”, she said. When asked if she had any regrets, she simply stated “No regrets!” !

Q: I wish I’d known before I started… 
A: That you didn’t need to know anything about graphic design before you start! The Parsons AAS GD program is so comprehensive.

Q: What is your favorite typeface?
A: It’s a really hard decision, but right now I’ve been loving the clean lines of Brandon Grotesque Light. 

Q: What advice do you have for students who are just starting out? 
A: Do as many internships as you can. You’ll learn so much in the classroom but it’s just as important to know how to apply your skills in real life.

Interview by Kiel Guba, AAS GD
Photography and edit: Katarzyna Gruda

Important & interesting article | A Legendary Redesign of Helvetica, Reborn After 30 Years

Wired_rectangle

Written by: Kyle Vanhemert for wired.com 04.07.15

If you have eyeballs, you’ve almost certainly seen Helvetica. It’s one of the most widely used typefaces ever created, so popular that it generated a documentary examining its popularity. It’s almost equally certain that you have not seen Haas Unica, the typeface designed to be Helvetica’s sequel of sorts. Introduced in 1980, it was lost to history almost instantly upon its arrival.

Now, after languishing in obscurity for decades, Unica has been rescued and remastered. Thanks to an effort by Monotype designer Toshi Omagari, the legendary typeface is finally available as Neue Haas Unica, an 18-font family tuned-up for the digital age. Drawn to be legible at small sizes, it could be a perfect Helvetica-substitute for user interfaces and other on-screen text elements. For designers, though, the new Unica is an exciting visitor from the past. As Pentagram partner J. Abbott Miller puts it, “There is a Rip van Winkle quality of a font having woken up after 30 years of sleep.”

Helvetica_02-482x315
WIRED

A Stillborn Typeface

Helvetica was developed in 1957 by Swiss designer Max Miedinger. Designed as an update of the so-called “grotesque” typefaces developed in Germany in the late 19th Century, it was explosively popular, and by the mid-1970s, it had utterly transformed how the written word appeared throughout modern life. It was the de facto typeface for corporations of the day, employed by Knoll, BMW, American Airlines and hundreds of other companies. It brought a clear, modern look to magazine ads, subway signs, letterheads, and Presidential campaigns. As designer Michael Bierut once remarked, at the height of its popularity, Helvetica simply seemed elemental, like air, or gravity.

For people who scrutinize letters for a living, however, Helvetica’s ubiquity in the 1960s and 1970s offered a great many opportunities to notice its quirks. Designed for short blasts of texts like headlines and advertisements, Helvetica didn’t always look great at small sizes or when used for lengthy blocks of text. And because it had been designed for the hot metal typesetting techniques prevalent in the 1950s, it hadn’t translated perfectly to the phototypesetting process that became popular in the 1970s.

So, in 1974, Haas, the centuries-old Swiss type foundry that had introduced Helvetica in 1957, commissioned a Swiss design team called Team’77 to come up with a follow-up to the world’s most popular typeface. The group—André Gürtler, Erich Gschwind and Christian Mengelt—set out to create something native to phototypesetting that combined the best elements of Helvetica and Univers, another hugely popular sans-serif typeface of the day with a slightly more formal design. Team’77 was rigorous in its analysis of the parent typefaces and meticulous in creating their offshoot. It took them three years to complete the job.

By the time they finished Unica, however, Haas was going out of business. Further, the typographic world was on the verge of being rocked by another new technology: desktop publishing. The advent of personal computers, particularly the Macintosh, would make it possible to experiment with type in tremendous new ways. Phototypesetting, for which Unica had been designed, was quickly losing relevance. As a result, Unica got lost in the shuffle. “People didn’t get to see a lot of it,” says Monotype type director Dan Rhatigan. “It was almost a stillbirth.”

Unica, Found

In the years that followed, Unica slipped into obscurity, accumulating a sort of mythology along the way. It had been digitized in the 1980s by another company—that also promptly folded. “Because it was released by companies who went out of business, there was kind of murkiness for a while about whether or not people could do anything with Unica, which I think added to its legend,” Rhatigan says.

NeueHaasUnicaSpecimen41-482x314
MONTYPE: Neue Haas Unica Specimen 41

In late 2012, Rhatigan was visiting Monotype’s outpost in Germany, which had previously been the office of storied typesetting outfit Mergenthaler Linotype Company. He was rooting around in storage, looking for old material, when he happened upon a box of tracing paper and transparent sheets. The transparent pages each had a single letter, crisp and clean and ten inches tall: The photographic film masters for Unica.

Rhatigan had been dimly aware of the typeface from postings on typography forums, and for a designer who wears his love of typography on his sleeves quite literally, in the form of tattoos of cherished letters, finding the fabled typeface was a thrill. “It was so exciting,” he says. “We tried to find out, does this really mean that we are free to do with this what we want?” A short investigation revealed: Yes, Monotype owned both the name and the rights.

Rhatigan showed the materials to Monotype designer Toshi Omagari, who quickly took up its resurrection as a side project. Omagari redrew the letters from scratch, following the intention of original design but fine-tuning the letters and spacing for modern, digital work. Omagari drew a number of different weights and languages. When he and Rhatigan would mention the project, people would invariably get excited.

“The cult aspect became more and more obvious as we talked to people about working on it,” Rhatigan says. “People knew about Unica. But since it wasn’t widely available, a lot of people did not have a chance to work with it and see if it was as good as the legend that had grown up around it. It really was this sort of lost treasure.”

NeueHaasUnicaSpecimen1-482x410
MONOTYPE: Neue Haas Unica Specimen 1

<small><strong>Editor: Katarzyna Gruda<small><strong>

Read the rest…

How to spot America’s most loved beer? Look for Betsy the purple cow

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After two weeks and thousands of votes, Newburgh Brewing Co.’s Cream Ale beer label was crowned the 2015 winner of CNBC‘s Most Loved Label competition.

Newburgh-Cream-Ale_sm_Modern-Good_web
Since we never tried the beer – our belief is that the man behind the design is responsible for the win. After all it was competition for the most loved label and not the best beer. The label was designed by Philadelphia-based design firm Modern Good run by Matthew Bouloutian, a former adjunct faculty at AAS Graphic Design.
It features Betsy the cow which was created for a poster for the Cream Ale a few years before.

Modern Good_NBC_4BeerPosters
Four Beer Posters for Newburgh Brewing Company
Here is what Matthew Bouloutian told us about process of the design:

 

Our can design first began in 2012 when we created Betsy the Cow (with her two little side kicks) as the main subject for a promotional poster for Newburgh Brewing Company’s first beer, their cream ale. This poster along with 5 others, one for
each of their beers, was produced with the intention that when Newburgh Brewing decided to package their beer they would already have an iconic solution to represent each one. Each poster revolved around a unique illustration for the beer based on its name or character. Two years passed before the can design project became a reality. When it came time to start distributing the beer in cans,
I used our icon of Betsy, the established typography and colors from the poster to design a label, which basically looked like the poster with some adjustments. Chris Basso, the head brewmaster at Newburgh Brewing ultimately felt it wasn’t exciting enough and pushed for something more. I was surprised but Chris felt strongly about making something adventurous. He mentioned that other breweries had done some trailblazing in packaging their beer. At this point I had to do something very different. Our cow icon was already in use and wasn’t going to change so the design had to. 
After exploring design ideas we arrived at this patchwork, wraparound design which was engaging to pick up and explore. It allowed us to feature our beer icons as well as the town of Newburgh and other bits of information about the beer and spirit of the brewery. It also didn’t look like any other label we’d seen. There was lots to look at, read and discover. It has a pop/craft impression that is lighthearted but conveys a respect for heritage. The shelf presence is strong and I’ve heard that it’s been very successful in terms of sales… but who knows if that’s our can design or the beer! I’d like to think it’s both. Cheers.

Newburgh Brewing Website
Newburgh Brewing Website

Screen Shot 2015-04-10 at 3.25.41 PM

Paul Halayko, Newburgh Brewing Company, discusses the inspiration behind his cream ale beer, and the craft brewing craze.

Editor: Katarzyna Gruda