By Dustin Gouker
For the Oregon Beer Growler
Bend artist MaryLea Harris wasn’t a beer fan when she moved to Bend four years ago. But she quickly learned to love the artwork that changes annually on the packaging for Deschutes Brewery’s Jubelale.
“When we moved here, I remember being at the grocery store here in Bend and there was this amazing display of beer,” Harris said. “I was blown away by the artwork on the cases of beer, and I actually bought one because the art was so cool. I had no idea what the beer inside would taste like, but it was so pretty I had to buy it.
“There’s judging the book by its cover, this was buying beer by its box.”
Just four years later, Deschutes tapped Harris to create the artwork for the 30th anniversary of Jubelale, the brewery’s signature winter beer. And for the occasion, Harris accomplished a first in Jubelale history — Deschutes actually commissioned four pieces of art for this year’s beer. Harris’ series of snowflakes appear on different bottles in each package.
“I suggested the idea of doing a series,” Harris said. “Just like no two snowflakes are alike, no two beers are alike.”
Harris specializes in mixed media. And while that might be difficult to pick up from the two-dimensional beer packaging, paint wasn’t the only medium employed in creating the art that inspired the labels. Harris’ snowflake series uses plaster, acrylic paint and Jubelale posters glued to the background.
The result was the latest unique take on winter in Oregon for the Deschutes seasonal. Even though Harris is an experienced artist, the project could be intimidating at times. Deschutes approached Harris to do the artwork in April. When she met with the brewery’s founder Gary Fish, she wondered what she had gotten herself into.
“He took me through the gallery of the past artwork and told me what we liked and didn’t like about each piece,” Harris said. “I walked out of it like, ‘Please don’t mess this up.’
“But the best advice Gary gave me was when he told me: ‘We still want you to make it your art. Don’t take it too seriously, it’s only beer.’”
The turnaround time from commission to completion was just under a month, which presented challenges beyond the timeframe.
“I was painting at Easter time trying to channel wintry thoughts,” Harris said laughing, recalling the process. “So I actually psyched myself out by closing the blinds to my studio. I played Christmas music. I burned a candle that smelled like a wood fire. I made hot cocoa.”
She also had inspiration from the Bend art community, to which Deschutes usually goes for the Jubelale commissions. From living in Bend, Harris eventually got to know Avlis Leumas, who did the artwork for the “owl” Jubelale in 2013 that so struck her when she moved here. As she came up with this year’s art, she confided in Karen Ruane, a good friend who did the 2016 label. (The Jubelale art is often kept “top secret” until its release.)
Harris said she approached the process perhaps a bit differently than some past artists likely did. With a background in marketing as well as fine art, Harris said she was very concerned with producing images that would look good on the packaging, even though that part is taken care of by Deschutes’ marketing team.
“My trick when I was painting, I would take photos of the painting, and then hold my phone with the photo up to a beer bottle and see how it was going to look at that size and shape,” Harris said. “It really helped the process.”
Four years ago, when Harris and her family moved here, she said she wasn’t a big fan of beer. But drinking a Black Butte Porter soon after she got to Bend changed her tune. “I became a Deschutes girl from the very beginning,” Harris said.
Now the art of the converted beer drinker is on shelves around the country.
By Anthony St. Clair
For the Oregon Beer Growler
Breweries use and support the arts in different ways. For Eugene-based Ninkasi Brewing Company, support of the arts and collaboration with artists has been key to the 10-year-old brewery’s brand and growth.
“The forward-thinking use of artwork in our creative has been a significant factor in the success of our brand,” explains Jon Rogers, Ninkasi’s chief marketing officer.
In 2015 Ninkasi launched an Artist in Residence (AIR) Program, which celebrates its first anniversary this month. In addition to his work for bands such as The Black Keys and Dave Matthews Band, Eugene artist Neal Williams created art for Ground Control, an imperial stout fermented with yeast that survived a trip to space and back. He’s now been working with Ninkasi for a year as their current AIR, but plans are for him to continue working with the brewery’s in-house design and marketing teams.
“When I came to Ninkasi, I got the chance to see the brewing process and learn more about the care and attention to detail that goes into the beer,” says Williams. “It's all about taking the time to produce something of quality. I feel exactly the same way about my illustration work.”
With the 10-year anniversary coming up, Williams, Ninkasi’s design teams and co-founder Jamie Floyd all decided it was time to refresh Ninkasi’s beer branding.
“Neal did our Dawn of the Red rebrand,” explains Floyd, “but the full rebrand is a team effort, including Neal. They worked together to create those new looks. The beers have character, and they have personalities. It’s good for us to be able to give some personalities to things and have it look right. The rest of our brand has shifted to more of a graphic style, and have more stories that make it look like a brand suite, that gives it all continuity.”
Ninkasi recently released the new looks as part of their first full rebrand. Part of the success of the new look, says Floyd, is that Ninkasi’s in-house design and marketing teams can work alongside brewing and sales teams. Through meetings with brewers, marketing and sales, designers and artists gain a better understanding of the stories and journeys that each beer has gone through, from development to customer feedback.
“Our art team has made some incredible strides,” says Floyd. “Having so many skills in-house is amazing, and it helps a lot to have it in-house. We can see things all the way through, and have creative ideas that are not borrowed. The brewing team shares research beers they’re doing and [they] get a chance to talk about the beers and why they’re doing them. If those beers become beers we produce commercially, then the marketing team knows what the brewers thought, and that really gets their creative juices going.”
Ninkasi’s interest in the arts also leads to some arts that you might not normally think of — such as running. Running is a large part of Ninkasi’s company culture, including an end-of-run pint (a Wednesday employee running club finishes at the tasting room). “We thought that a lot of times breweries tried to make beers for runners, it didn’t work,” says Floyd. “We are runners, and we know that when we’re done we don’t want a light lager — we want an IPA. And we just ran, so we don’t worry about the extra calories. ”
Creating the beer went beyond usual test brews and pilot batches. During March and April, initial batches were produced and distributed to runners at 25 Beer Run Test Batch events, held nationwide in partnership with local running communities. “It was great to get the input of what runners wanted and do test batches with them,” says Floyd. “Running clubs liked it too because they were involved, and felt involved. It was a lot of fun, and it worked.
Ninkasi is now partnering with local wholesale partner Bigfoot Beverages and TrackTown USA, the local organizing committee for the Olympic Trials, to bring Beer Run to the University of Oregon’s Hayward Field during the July 1–10 competition. Beer Run IPA will be on tap at four locations during the Trials, which are expected to attract over 172,000 fans.
For Floyd and Rogers, the arts are at the heart of Ninkasi. “We bring multiple artists with varied skills into our brewery,” states Rogers. “Our goal is to continue to enhance our brand, our workplace and the greater Ninkasi community.”
By Branden Andersen
For the Oregon Beer Growler
The winter warmer holds a special place in the beer industry’s heart. While old-world breweries celebrated the passing of seasons with spring beers like saison and Maibock, the American beer industry instantly grabbed onto the winter seasonal as its golden child for rotational styles.
It all started with Anchor Brewing, which released its first Christmas Ale in 1975. Label artist Jim Stitt has been designing the labels since that year, drawing a different tree for each edition ranging from a California palm to a Douglas fir.
“We’ve always believed handmade beer deserves a handmade label,” an Anchor representative said in a promotional video. “So rather than running to the computer, we run to our friend Jim Stitt, a wonderful illustrator and wonderful watercolorist.”
The idea, according to an Anchor press release, is to keep the labels changing just like the beer inside the bottle. Each year, the brewers work off of a caramel and toast malt base while adding a different combination of hops and spices that they refuse to disclose to the public.
Anchor set the pace for the hundreds of breweries that popped up in the years that followed. Local breweries now hold on to their winter seasonals and build releases around them. 10 Barrel hosts Pray for Snow parties across the state to celebrate the release of their beer. Hopworks Urban Brewery’s Abominable Winter Ale’s bright blue monster cans and tap handles are seen around bars as a celebration of the season.
Possibly the most recognized and revered winter release in Oregon comes from Deschutes Brewing. They’ve brewed and bottled their winter seasonal Jubelale since opening their doors in 1988, with different labels wrapping each bottle. From 1988 to 1995, Bend local Ed Carson designed wreaths for the labels, updating them once every two years.
“Deschutes Brewery owner and founder, Gary Fish, and our graphic designer at the time, Ed Carson, came up with the idea to celebrate the beer and the holiday season,” explained Deschutes digital marketing manager Jason Randles, “and I guess you could say the rest is history.”
While Carson oversaw the Jubelale art project until 2003, he handed off the art reins to local artists.
“As Gary Fish likes to say, ‘Jubelale packaging is all about the art,’” recounted Randles. “It’s a fun project that celebrates the craft of brewing and art and brings them together in a real unique and festive way.”
This year, Central Oregon transplant Taylor Rose found her way into the discussion for Jubelale’s 2015 label, and quickly made her way to the top of the list.
“I figured there was a huge wait list,” Rose said. “I was just reaching out to see what I had to do to be included. They brought me in and started talking about the project, and it turned out I got the job.”
Randles said that Deschutes prioritizes Central Oregon artists, tasking them to create winter-themed art.
“It was very hands-off,” Rose said. “I sketched up my idea and they told me to go for it.”
Rose said her inspiration came from her newfound love of fly-fishing. Since moving to Bend from New Hampshire, she has been inspired by all of the outdoor recreation that the area has to offer and she incorporated that into her work.
“A friend took me out to the Crooked River to go fishing,” Rose said. “We didn’t get anything that time, but just being in the environment, I loved it.”
The Jubelale label, titled “First Tracks First Cast,” is a tribute to that memory and how inspired she has been by the Central Oregon outdoors. She used her fantasy-like style to portray an outdoor scene of a couple with their dog preparing to cast into a fish-filled river.
“We like the detail, vibrancy and playfulness of her work,” Randles said about Rose. “We’re always looking for something different from the previous year, whether that be style, medium or subject matter.”
The original art, which is hanging in Deschutes Brewery’s tasting room, took roughly 80 hours from start to finish. Rose said it’s the biggest project she’s ever done, and admires Deschutes for giving artists the opportunity.
“How awesome is it that Deschutes does this,” Rose said. “They gave me total creative freedom and make it all about the artist.”
Rose got the whole royal treatment, including her picture on Deschutes press releases and a poster-signing party at the pub as the art was revealed. Suddenly, Rose said she was recognized by locals. Besides that, her art was placed all around town, on six-pack carriers and boxes in the beer aisle.
By Anthony St. Clair
For the Oregon Beer Growler
In today’s fast-paced industry, it’s easy to forget that the modern craft beer revolution hasn’t even hit middle age yet. At Oregon State University, the Oregon Hops and Brewing Archives (OHBA), the first brewing archive in the U.S., saves and shares the story of hop production and the craft brewing movement in Oregon.
“We do this by collecting historical materials, conducting oral histories, sharing best practices for maintaining records and assisting with historical research,” explains Tiah Edmunson-Morton, main curator for OHBA (she also blogs about her work at thebrewstorian.tumblr.com). “In line with OSU's land-grant mission, this archive focuses on local agricultural, business and heritage communities, connecting OSU to the much larger story of brewing and hop growing in our region.”
Located on the fifth floor of The Valley Library at OSU, OHBA began in summer 2013 as part of the OSU Libraries & Press’ Special Collections and Archives Research Center. Edmunson-Morton works closely with staff in OSU Special Collections and Archives, the digital production unit and library administration. A student worker aids with research and a graphic design student recently designed a beer history board game.
Edmunson-Morton has collected oral histories from notable figures such as McMenamins’ historian Tim Hills along with beer writers John Foyston and the late Fred Eckhardt. Current projects include scanning brew sheets for the first 2,000 brews at McMenamins Hillsdale, Cornelius Pass Roadhouse and Fulton breweries. Portland Brewing’s Fred Bowman granted access to news clippings about the early years of Portland Brewing, as well as photos showing the remodel of the building at the original Northwest Flanders Street location in advance of the brewery’s opening in 1986. OHBA is also collaborating with the Multnomah County Library on “Portland Brew History,” a digital exhibit featuring materials from 15 breweries.
“I feel so lucky to be working on something so fun and culturally/scientifically significant,” says Edmunson-Morton.
University, Industry Are Key Partners
It’s only natural that OHBA is part of OSU. The Corvallis public university is renowned for its hops breeding, brewing research and Fermentation Science program. Edmunson-Morton works closely with all of them, as well as the beer and cider sessions staff in Professional and Continuing Education to discover and procure new materials and stories.
In addition to oral histories with hop growers, OHBA has records from the Oregon Hop Growers Association and the Hop Research Council and is reviewing hops industry photos and research reports from the 1920s-1950s. Edmunson-Morton has collaborated with the Benton County Historical Society to convert tapes of oral histories with pickers and growers from the early 1980s. “We also scanned a set of questionnaires from that same oral history project,” she says. “That give a really interesting insight into the conditions in the fields in the 1930s.”
OHBA also sources documents and histories through newspapers and other periodicals, such as Zymurgy and The Amateur Brewer, as well as newspapers. “I’d like to continue to collect research files, pictures and publications from beer writers,” says Edmunson-Morton. “We are also looking at expanding the archive to more actively highlight and collect materials related to barley. Who knows? This may lead to a name change if we include yeast too.”
The Art of Beer
Rep. Peter DeFazio and OSU President Ed Ray were among the first to come to OHBA’s opening day for “The Art of Beer: What’s on the Outside.” Celebrating the work of brewers and artists in Oregon through beer labels, the public walk-through exhibition was planned to be open during April and May 2015, but instead closed at the end of July.
With items dating back to the early 1980s, The Art of Beer showed that labels are more than just marketing or advertising. “While the range of art on labels and coasters itself was important,” says Edmunson-Morton, “I also wanted to look at identity, branding, the process of creating art and the simple artistry that goes into … such a small bit of visual real estate.”
Beer labels are a snapshot, she explains: telling customers about the company, the taste or style of beer, the experience you are likely to have. “They are also connecting with consumers as artists, creating something beautiful and evocative,” says Edmunson-Morton. “When you saw the bottles on store shelves or labels on tap handles you were picking up clues about the beer, the brewery, etc. But when you saw those labels enlarged on a wall, they turned into something much more: art.”
However, a sort of meta-exhibition was also at work. Archivists and curators “make choices about what you see, labeling items to categorize them, grouping them with other items, and asking the viewer to consider and examine them in a constructed way,” says Edmunson-Morton. “Advertisers work in the same way by inviting you to draw a quick meaning and conclusions based on what is on the outside, and then asking you to make a decision and interpretation about what’s inside.”
A Community-Based Archive
While of interest to brewing hobbyists, professionals and academics, the archive is also part of the public’s awareness about the history of a vibrant modern industry. “People don't know how interesting and important what they have is, or think the posters they produced three years ago aren't historic,” says Edmunson-Morton. “With an archive like this, three years ago is certainly history!”
OHBA is actively asking the public, brewing industry, and homebrewing community to contribute new materials, such as photographs, news clippings, publications, books, recipes, coasters, taplists, menus, and/or any records for breweries and hop growing operations.
“The way an archive grows is by adding materials, but the way we save a history is by sharing it and telling its story,” says Edmunson-Morton. “I want this to be a community-based archive, which means that we collect materials that tell the story of the cultural and industrial communities, but also the story by the communities. It's not just my story to tell.”
Questions, donations and contributions:
Tiah Edmunson-Morton, OHBA Curator
541-737-7387 / firstname.lastname@example.org
Visit the Archives:
Special Collections and Archives Research Center, Valley Library Fifth Floor, Oregon State University
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