For the third instalment of our Artist Behind the Label series, Robert Edmonds—co-founder of Evoke International Design and part-owner of Main Street Brewing—touches on his creative rituals, his taste in the tasting room interiors and the importance of good storytelling when it comes to design. Rob’s been crafting Main Street’s distinct brightly-coloured labels since the brewery’s inception in 2014—when the craft brew craze was just catching on. His designs celebrate the history of Vancouver’s storied Brewery Creek neighbourhood and, as of late, they’ve been inviting patrons on a series of ale-ventures that will keep you on the edge of your bar stool.

Q&A WITH ROBERT EDMONDS OF EVOKE INTERNATIONAL DESIGN

Nicole: Alright, let’s start from the beginning. Tell me about yourself! What sort of life steps led you to where you are now as a designer?

Robert: I grew up in Melbourne, Australia and my first toe-dip into real-world design was a stint of ‘work experience’ at iconic Australian record label, Mushroom Records, before landing a job in a small design studio. As with most Australians, I eventually went travelling and settled in London; again, working in a design studio, this time creating packaging. From the UK, I moved to Vancouver and spent two years working at Palmer Jarvis Advertising before returning to Australia and taking up an Art Director’s position at FCB International.

By this stage I’d met my future-permanent-date and we moved back to Vancouver to start our businesses. Janis (Nicolay) is a photographer and I launched my own design studio. Eventually, my studio merged with my brother-in-law and bar mate, David Nicolay, to form Evoke International Design.

N: Evoke specializes in all kinds of design—interior, graphic, motion. Is there any niche you particularly enjoy?

R: My portfolio consists of over 600 [music] poster designs—from limited edition tour art prints to street level gig posters for artists including The Cure, Tom Waits, Radiohead, Haim, Flaming Lips, Willie Nelson, Ice Cube to local and National Canadian bands, including album designs for Blue Rodeo and Shawn Hook.

I think over the years that has informed my work, as I try to let the style of the music lead the design (much the same way I think the style of beer should be part of the can design!).

N: Evoke talks about using spatial design as another vehicle for communication. Can you tell me more about that?

R: Evoke has a very modern aesthetic and my business partner, David, handles the interiors side, as well as designing modern houses. When we formed the company, we were doing a lot of restaurant design, which incorporated both interior and graphic design so we were able to create coherent spaces that used the same language throughout.

N: Have you always felt like you were meant to do something creative?

R: Yes. I was originally interested in fine arts but ended up going the graphic design route. I still always carry a sketchbook with me. I paint in my free time, and I’m also in a band, The Wivez. (Editor’s note: I can confirm their newest single, “Take You Higher” is pretty rad. You should check it out the next time you have a cold Fruit Bomb in your hand.)

“My portfolio consists of over 600 [music] poster designs…I think over the years that has informed my work, as I try to let the style of the music lead the design (much the same way the style of beer should be part of the can design!)”

N: Let’s talk about Main Street Brewing—how did it come to be? 

R: Early on, Evoke was drawn to the hospitality industry and we wanted to practice what we preached from a design point of view. David and I, along with Wendy Nicolay and Nigel Pike, are partners at the Cascade Group of Restaurants (The Cascade Room, El Camino’s and The Union). Through that partnership, we teamed up with our friend, Cameron Forsyth (Portland Craft) to create Main Street Brewing.

We initially started off by creating an in-house beer for our restaurants. We called it ‘Main Street Pilsner’, as that’s where all our establishments were located at the time. Then the craft brewery craze hit, so we decided to find a location and open a brewery ourselves.

N: The tasting room space is gorgeous—what was Evoke’s thought process behind the design?

R: The game has definitely been raised in the craft beer industry over the last 5+ years, so conveying the brand not only through the packaging but also through tasting room space is important. 

Main Street is in a beautiful old building in the heart of Brewery Creek in Vancouver. It was the original home of Doering & Marstrand Brewery, so we were cognizant of the history and only touched the building lightly. We used complementary materials within the retail store and tasting room to highlight the existing space, including the 30’ high warehouse ceilings and exposed wood trusses.

N: Main Street’s labels are unique. Did you draw inspiration from anywhere in particular?

R: As with the interior design, the labels were designed as a modern interpretation of historical stories from the neighbourhood. We created our core four to stand out against the plethora of multicolored labels on the shelf by keeping them a single colour with a dark graphic icon for each.

N: The “Vacation Series” was a hit! So much fun. How did the idea come together?

R: It was born out of Covid. Travel was not an option for people, so Cam and Nigel wanted to create a series of beers that gave you a chance to escape, if only in your mind, as we all longed to get back to ‘normal’. They worked with our head brewer Azlan Graves on the beer styles and I ran with the designs. We wanted to make the series a journey, so we started with “Departure Lounge”, followed by the arrival at your room with the “Ocean View”, the big blowout party with “Hula Hula Shake”, then finally the recovery day “Poolside”.

People were really engaged with the through-line and we also created a series of videos for the tasting room TV’s and social media (linked above), which embellished the stories.

N: Now, what about this not-so-top-secret new spy-themed series?

R: We wanted to riff on the release of the latest Bond film. Initially, it was going to be very similar to the Vacation Series, but once I got stuck into the design, I saw an opportunity to dedicate more space for a story. I’ve been working with writer J.C. Sorensen, who jumped at the chance to flex his beer muscle! We wanted to have a female hero, so we came up with ‘I.P.Agent Holly Hoppington’, who will be going on a series of adventures to recover the Malt-Tease Falcon.

 

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N: How important do you think storytelling is when it comes to craft beer? 

R: I think it’s part of the experience. Whether it’s designing a beer label, a wall mural, or a logo, I think it’s always important that there’s a story behind the design. It gives an opportunity for the viewer to be engaged and therefore perpetuate the story.

N: Do you have a favourite label or series you’ve worked on for Main Street? 

R: The favourite is usually the one I’m currently working on at the time.

N: How do you get into a creative headspace? Any pre-session rituals? 

R: Beer plus sketchbook. Also, I walk a lot, so a lot of ideas are born between footsteps. I stress over the idea, but once the idea is solidified I can then do the work quite easily.

N: Okay, final question (I always have to ask). Honest truth: Do you judge a beer by its label?

R: I judge a beer by how thirsty I am!

Is there some can art you’re currently crushing on that’s almost too beautiful to drink? (Keyword: almost.) Post your pics and tag the @bcaletrail!

The post Artist Behind the Label: Robert Edmonds and Main Street Brewing appeared first on The BC Ale Trail.

For the second instalment of our Artist Behind the Label series, I sat down with Leif Miltenberger and Richard Hatter, cofounders of Hired Guns Creative and talented “art-chitects” (I couldn’t resist…) behind some of BC’s most celebrated craft beer brands. Longwood Brewery, Driftwood Brewery, and Whitetooth Brewing Co. are just a few whose bottles are lucky enough to bear their delightfully dark, brooding, stare-at-you-from-across-the-liquor-store designs. Hired Guns has been blessing BC beer with award-winning designs for nearly 14 years now and, according to them, they’re just getting started.

Q&A WITH LEIF MILTENBERGER & RICHARD HATTER

So, tell me about yourselves! How did Hired Guns Creative come to be?

LEIF: I originally studied music composition at Capilano University. While I was there, I started teaching myself how to build websites as a hobby. Eventually, that hobby evolved into a career as a web designer and developer. Richard and I met when we were both working at a web design company here in Nanaimo back in 2007. We clicked right away and eventually started our own web design company together. At first, we would take any job that would help keep the lights on but, eventually, we decided to niche down. We phased out the web design and focused solely on the packaging side of things. Now, 14 years in, I mostly handle new business development and Richard is our Creative Director. Our clients are concentrated in B.C. because that’s where we’re based, of course, but we serve international clients now, too.

RICHARD: I’ve always wanted to be a graphic designer. When I dig through old report cards and school stuff, it’s clear that’s what I focused on. I studied graphic design at Vancouver Island University and then did a post-grad in web design. After graduation, I dove straight into the workforce. I worked at a lot of shops and started lots of companies along the way that never worked out… but you’ve got to fail a few times to succeed, right? In the past, everywhere I’ve worked, I’ve been referred to as a “hired gun” (hence the name). Now, I’m like a proud papa. We’ve been able to grow our team substantially over the last year or so since the pandemic started and everything we’ve built is the result of a lot of hard work. This version of Hired Guns is badass—it’s gonna really propel us into something new. I’m excited about it.

What drew you toward the craft beer industry? Why do you love it?

RICHARD: Well, we were pretty into beer… ha! We started experimenting with designing labels for wineries—there are a lot of wineries here on Vancouver Island—and eventually phased into mostly breweries. The breweries were a better creative fit for us. We realized winery folks tend to be more conservative in their design, whereas the beer industry is far more game for experimentation… They pretty much let us do whatever! We were also entering the B.C. craft beer boom at that point.

LEIF: Yeah, the beginning of the craft beer boom was so much fun to be involved in. We were at the forefront of designing some really fun labels and it felt like we were creating something new from the ground up—that’s something I’ll always look back on fondly. It was really exciting. Also, I think a lot of graphic designers want to be in the craft beer industry because of the creative freedom it allows. For us, [craft beer is the] pinnacle of graphic design. There’s so much flexibility in what people are willing to do on a can. We wouldn’t think of doing anything else.

Can you give us some insight into what’s trending right now in label and packaging design?

LEIF: There’s been a trend over the last three years or so of minimalist design. Bright repeating patterns are something we see all over the place, as well. They’re quick and cheap to design, which I think has been driven by the crazy new beer release cycles we’re seeing these days (some of our clients have started releasing a new beer every week!).

We definitely watch trends, but we also try to avoid them for the most part. We keep our clients separate from the trends so they can stand out and not look like everybody else in the shop.

RICHARD: Yeah, in terms of leading-edge stuff, I can’t go into too much detail on what’s coming next for us, obviously, but there’s a lot we’re about to show the world. I’m excited about that! Definitely keep your eyes on our website for some new releases soon.

Does B.C. differ from other provinces when it comes to industry trends?

RICHARD: Oh, definitely. Because of the high concentration of breweries, B.C. has always been on the leading edge. The shelf here looks a lot different than it does in, say, rural Alberta or Manitoba. Other provinces are catching up, though. Everybody’s seeing what works here and integrating it. As far as beer styles go, in B.C. we’re seeing every designer hop under the sun and lots of milkshakes coming out right now, which you don’t necessarily see yet elsewhere. Like, in Manitoba, lagers and pilsners are still something people are focused on doing really well…

LEIF: …Yeah, and it’s not like in the East Van ultrahip, “hey, we just rediscovered lager” kind of way… ha! In terms of design, there are a lot more of what some might consider “feminine” designs in B.C. beer than there are in, say, Ontario right now.

RICHARD: Yeah, you’re not gonna see a leather-clad unicorn on the shelf there as you would here. You’ll see more forest scenes and wheat designs—that sort of thing.

You manage a lot of different brands. How do you keep things fresh when your designs all need to be different?

RICHARD: Hmm… staying well-read on history is something I personally find helpful to pull from for inspiration… But otherwise, keeping things fresh is kind of what we do! It does get difficult when people come to us because they’ve seen something specific in our portfolio (which happens quite a bit). We’re pretty paranoid about keeping our clients separate from each other—especially when they’re competing in the same market. Our designers are all pretty spread out now, too (we have people in Pittsburgh, Edmonton, and the UK), which is awesome because they all come with their own unique experiences and visual languages.

Do you and your design team have any rituals to help get you into that creative headspace?

RICHARD: As far as creative rituals go, let’s just say I used to be a lot more punk rock about it… but lots has changed over the years. I’m 40 now. I have kids. I kind of have to just show up and do it. Although, music has always been a huge driver in my ability to focus. When I sit down to work, I crush albums, get into my zone, and try to ignore as many texts and emails as I can throughout the day (which isn’t always easy).

LEIF: Yeah, we do sometimes taste the beer first, so we have an idea of where the product is going to be competing in the market and we try to design something that really speaks to the flavour of the product. I’d like to say we taste them all first, but sometimes we’re designing the label for a beer that doesn’t even exist yet. 

Talk to me about some of Whitetooth’s designs—THE OUTDOOR SCENES. 

RICHARD: That idea came from their camp—they really wanted the designs to revolve around outdoor activity. It totally makes sense for their brand; that’s who they are, it’s what they’re passionate about, and what they design their beer to be about. I don’t know if you’ve been to Golden, but it’s insane. It’s gorgeous. And Whitetooth owns that place, they totally do. We usually stay away from the place-based designs—we’re always pushing for new approaches and new art—but those designs make sense for them. 

Longwood’s Stoutnik. I need to know how the idea for this came about!

RICHARD: That was one of the first labels we ever did! I was really bringing high design to beer at that point. It was a big fishing lure to get people interested in Hired Guns back then and it worked! It did really well. We won several major international design awards. It was one of the more expensive beers in Longwood’s portfolio at that time and they gave me 100% free rein to do whatever I wanted. We were able to spray paint the bottle black and add a blind embossed label with prism foil and a morse code story hidden in there. If you were to decode it, you’d find it reveals the tasting notes of the beer. You wouldn’t even know [the morse code] was there unless you touched it. That decision really came from our experience in the wine industry. If you watch people buy wine or spirits, they touch the labels—it’s pretty interesting; it plays into the whole purchasing decision. 

I love Driftwood’s “Bird of Prey” sour series. What’s the story there?

LEIF: Yes! So, before we started working on their labels, Driftwood had a hawk fly into their brewery one day and it ended up staying for a while. They looked it up and it was called a cooper’s hawk. A person who makes barrels is called a cooper and they just so happened to be crafting some barrel-aged beers at the time, so it became the “bird of prey” series. Then, once Richard got his hands on it, he went a bit apeshit with it—it’s just so weird and cool. They’re some of my favourite designs he’s ever done.

RICHARD: Yeah, Jason [at Driftwood] kind of just lets me draw. As we continue through the series, each bird gets more and more obscure. Some of them just stare at you from across the liquor store; the stopping power they have on the shelf is pretty amazing. Those types of labels are really why I got into this—to do that kind of work.

Do you have a favourite label or series you’ve worked on? 

RICHARD: Other than Bird of Prey, there’s a new series that’s also unfolding from Driftwood right now that has a cyber tech alien thing going on (you’re going to see a lot more of that type of theme coming out). It started off with Oumuamua, then it went to Eccentricity and now it’s evolved into a whole other thing. I’ve had a lot of fun with that because, creatively, it’s so “out there.” Son of the Morning we had a lot of fun with, too—that one actually got us an interview in Decibel magazine, which is a heavy metal magazine publication. All of them are my favourites, really.

Okay, final question. Honest truth: Do you judge a beer by its label?

RICHARD: Absolutely.

LEIF: Not just the beer… I’ll judge the whole brewery!

RICHARD: Yeah, I know it’s “cool” to say “it’s what’s in the can that matters,” but if it didn’t matter, then you might as well just have a piece of tape on a can.

LEIF: What you do on the outside says how much effort you’re putting into what’s inside, in my opinion. I don’t think high design means bad beer, by any means. The label matters.

Is there some can art you’re currently crushing on that’s almost too beautiful to drink? (Keyword: almost.) Post your pics and tag the @bcaletrail!

Travel in BC

Travel is part of our DNA and we’re all excited to see it return and welcome our neighbours from Alberta and the rest of Canada. Summer 2021 is a great time to #exploreBCnow and connect with family and friends and explore everything British Columbia has to offer – great cities, incredible nature, and parts less travelled ready to welcome people. Step 3 has a lot of changes, such as masks being optional for those who have had both vaccination shots, and showing proof of vaccination is not required. It’s important to remember we are all learning as we go, and we need to have kindness and patience at the heart of everything we do. We’re asking everyone to be patient as we work to get our services to the same high levels they were before the pandemic. We’re improving quality all the time as we address staffing shortages, train new staff, and adapt to new guidelines. The B.C. government information on travel and business rules are online at www.gov.bc.ca/covidtravel.

The post Artist Behind the Label: Hired Guns Creative appeared first on The BC Ale Trail.

I sat down (virtually, of course) with Christine Moulson, Brand Storyteller at Strange Fellows Brewing in Yeast Vancouver, to chat about beer, art, and SF’s band of whimsical old-world misfits. Christine’s been with the company since its launch in 2014—she’s married to brewmaster Iain Hill, one of the two original “strange fellows.” According to Christine, her carefully crafted block-print labels are meant to “celebrate the strange and extraordinary,” inviting brew lovers of all kinds to converge at the intersection of good art, beguiling stories, and great beer.

Q&A WITH CHRISTINE MOULSON

First things first: how did you get started in your role at Strange Fellows?

Iain’s wanted to start his own brewery as long as I’ve known him, and he always wanted me to do the labels. I actually studied film animation at Emily Carr University, but I learned some things about printmaking and drawing along the way, so it was just sort of this natural thing.

Have you always considered yourself a creative person?

I was always drawing as a kid and I received a lot of positive reinforcement, so I naturally leaned in that direction because it was something I was good at. I remember in grade five, I won this poster design contest for Parks Canada—it had something to do with Smokey the Bear, I think. I got a little trophy and everything. I was super shy as a kid, so that was, you know, life-affirming to win something like that. I guess that was the start!

You might have one of the coolest jobs in the world. What do you love about it?

I love that I have quite a bit of freedom for creativity. I’m lucky that everyone at the brewery trusts my design decisions because I think concepts often get worn down by too much compromise. It’s great that I’m able to have a strong vision and carry it through, both in the story and in the imagery.

Also, the beer industry itself is creative on so many different levels. Everybody’s got their own specialty, their own look and feel. It’s a very nurturing community, and everybody’s super appreciative of what other breweries are doing. It’s kind of neat. Also, I don’t think the beer industry takes itself as seriously as some other products do, so you can really have fun and be relaxed about it.

What role does storytelling play in the Strange Fellows brand?

If you’ve ever seen a Strange Fellows can or bottle, you know there’s usually a story that goes along with it. I never know if people actually read the stories or not, but I spend a lot of time agonizing over it — I try to cram as much of the message I’m trying to communicate in as few words as possible. I could use that space to talk about the hops or the flavour of the beer or the aroma, but my central focus is more about communicating a feeling about the beer or slipping a message in there about how to look at the world a little differently and be a better, more accepting person … all those fun things.

 

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The Charles Clarke Gallery in your space…is there a story behind that?

By law, tasting rooms have size limitations, so we had some extra space to play with when we first moved in. A friend introduced us to the Eastside Culture Crawl that happens here in East Van each year. We started realizing this area is filled with artist studios and we thought it would be cool to have a gallery space of our own where people can show their work. We also really liked the idea of art in unexpected places—you don’t come into a craft brewery expecting to find a gallery. You know, not everybody’s a gallery-type person; they might not feel comfortable or whatever the reason. We just wanted it to be very accessible.

Art should be for everybody, and I think the more you rub up against it, the more it’s natural. It doesn’t have to be this thing that you have to go to a special place to see, and you don’t have to have a particular background to appreciate it. I just think the more opportunities for artists to put their work out there and for people to experience it, the better.

Strange Fellows’ look and feel are unique. What was going through your mind when you were deciding what the brand was going to be like?

One of the tag lines for the company is “West Coast crafted, old world inspired.” We have this amazing, innovative beer culture here on the West Coast—and, similarly, across North America—but, really, a lot of the styles are from the old world, whether it’s from England, Belgium, or Germany. I knew I wanted the brand to be inspired by that, and that’s why I ended up choosing block prints. The prints have those bold, naive line and heaviness. You’re forced by the very nature of how you carve it and can’t really control exactly how it comes out. It’s never going to be perfect and I really didn’t want a perfect look. A lot of the imagery and the stories are connected, as well. They’re mostly folkloric themes or superstitions, different archetypes ..Those sorts of things.

Alright, now for the question on everyone’s minds…what comes first, the beer or the label?

When somebody at SF says, “There’s a new beer coming down the pipeline, and it’s gonna be this style of beer,” occasionally I’ll get hit with an image right away, and a story will follow or vice versa. I love it when that happens because it makes my job really easy.

Other times, I have to chew on it for a while. The ideal situation is if somebody mentions it to me and I have time to let it simmer for a while; inevitably, while I’m doing other things, something will pop up. But, I’ve been in situations before where I’ve had to design a label for tomorrow… and that’s not as easy.

What’s your best-case scenario for getting into a creative flow?

I have kids, so I have to work while they’re at school. A lot of times, if I’m having a mental block where I can’t think of something, I’ll go for a walk with the dog, or I’ll research the history of the style or region the beer was traditionally brewed in, looking for a hook or story that sparks a little flame. If I just sit down and really try to push it out, it just never comes that way, so I have to go and do something else.

Do you have a favourite beer? Label? Story behind the beer?

Bayard is probably my favourite beer. It’s a farmhouse-style saison; it’s dry and spicy, very aromatic and very Belgian in character. It’s going to be re-released sometime next month, so I’m looking forward to that. It’s the one with the image of a horse with that wild, untamed mane galloping across the front of it.

My favourite label…that’s hard to pick. I do like the Beldame one. It has a crone on the front, which is not an image you’d typically see on a beer label, right? And that’s the whole point: that you should never judge somebody by their appearance. I made her look a bit menacing like she’s glaring at you. If you encountered her, you might worry she’s a witch and will put a spell on you, but really, you don’t know who she is. And you shouldn’t discount her because she’s all these wonderful things. Really, you should look her in the eye, find out who she is and have a beer with her.

Also Moon Rabbit because I love this image and the overall simplicity of the label and the story about the benefits of random acts of kindness.

My favourite story is probably Horace, one of our foudre beers we did last year—it’s a wild sour with plum. There’s a crane on the front reaching up into a tree and picking a plum. For the story, I rewrote this old poem by a Greek poet called Horace, which talks about living for the day because we are not on this Earth for long. He was the one who first talked about the idea of carpe diem. I rewrote the poem to include eating the plums when they’re ripe, right off the tree because it was a foudre-aged beer with plums. It’s about living for the day and appreciating what you have right now because tomorrow it might not be here.

Fear not how many days remain, though prophets may not say the same.

Better to seize each day as it comes, live in the moment and eat ripe plums.

The sun will shine, the rain will fall, the fruit will spoil–can’t have it all!

Waste time no more with useless blather, best do something that you’d rather.

This day is prime–it you should pluck, tomorrow you could be out of luck!

 … words of wisdom to ponder alongside a glass of this foudre-aged softly sour beer with deep fruity character.

The block print method for creating SF’s labels is unique. Can you walk us through your process?

I hadn’t done any printmaking since art school—that’s where I learned to do it—but it seemed like the right look for the company. Like I said, I really like the imperfect line you get from a block print. I use lino, which is a soft carvable material. It gives the same look as carving a woodblock image, but it’s a bit cleaner—there’s no dust and no slivers. I do a series of drawings until I find a composition I like, and then I transfer the drawing to the lino block. I have a variety of carving tools to shape the image. Basically, I’m carving away the negative space and leaving behind the positive space. The part left behind gets inked with a roller, and then I press it on the paper. I scan the print, clean it up in Photoshop, and then I do my layout in Illustrator. I really love it. It’s a lot of fun.

How do you want people to feel when they encounter the Strange Fellows brand?

The message on every Strange Fellows can is to “always look your fellows in the eye and toast to their good health.” That’s a message we think is really important. It’s definitely the motto of our tasting room. Everybody’s welcome, we’re all different, and that’s wonderful.

From a strictly visual standpoint, liquor stores now are filled with this sea of amazing colourful labels and artwork, so, of course, my hope is that my designs are impactful enough that people pause and pick up that can or bottle, read the story, take it home, and enjoy it.

Also, if you’ve been to the tasting room, you’ll know there are a bunch of paper-mache masks on the wall around the room that I made. They represent many of the characters from the beer labels. It’s fun to carry those characters and creatures through from the labels and have them present in the tasting room, too. (Iain has been badgering me forever to get more done. I intend to soon!).

Is there a beer you’ve tasted in the past that impacted you so much you wish you could create a label for it?

I did try a beer years ago—I think it was from Parallel 49—and it was a champagne-style beer that was really quite amazing. I can’t say I felt the need to create a label for it, but it was quite a surprising beer. It really stuck with me.

I’ve been binging a lot of Netflix throughout this pandemic (who isn’t?!) and find myself Googling Easter eggs and fun facts about the filming after. Any Strange Fellows Easter eggs you can leave us with?

Ha! Well, the crone I talked about earlier on the front of Beldame was originally the little old lady on the back of the Nocturnum label. She was holding up a lantern and peering into the darkness. The old-world superstition says the wolf can swallow up old ladies and even swallow the sun. People just really loved her, so I decided to focus on her. [Note: Strange Fellows sells a crone mug as well as the canvas tote pictured above through its online store.]

Otherwise, all I will say is there’s a new project we’re releasing in early May, and there are definitely going to be some fun Easter eggs there. So keep your eyes on our Instagram for updates!

Is there some can art you’re currently crushing on that’s almost too beautiful to drink? (Keyword: almost.) Post your pics and tag the @bcaletrail!

The post Artist Behind the Label: Christine Moulson of Strange Fellows Brewing appeared first on The BC Ale Trail.