Oak & Glory by Monica Wu

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MONICA WU | MFA THESIS

 &  Grown and distilled in Oregonia, Ohio

MONICA WU | MFA THESIS

OA K & GLORY An MFA t he s is p r o j e c t

Desig ne d by M O N I CA WU ACADEMY O F A RT U NI V ER S IT Y SA N FR A N C I SCO, CA

PHOTO G R A PH Y Joe Da n z e r K ev in Ki t t r e l l Olesy a S t r y z hak C hristia n Ve t t e r

To find out m o r e, p l e ase vis it WWW. OAKA ND G LO RYSP I R ITS . C O M

View mo r e o f M o ni c a’s wo r k a t WWW. HE L LO G R A P H I CS.COM

“People want to eat well. They want to know about the provenance of every piece of lettuce that goes in their mouth. They want to know where their meats are raised. Why should what they drink be any less important?” —WARREN BOBROW, FOOD & COCKTAIL WRITER

CONTENTS 6 PREFACE Defining an MFA thesis 8 FARM ROOTS Background and opportunity 26 SEED TO BOTTLE A sustainable farm distillery 68 AMERICAN SPIRIT Implementation 108 GROWING SEASONS Research and development 147 ACKNOWLEDGMENTS

PRE FAC E

DEFINING AN MFA THESIS At its most essential, a graphic design MFA

final deliverable. It should represent the

thesis project is a problem or opportunity

culmination of extensive research and

that is solved through the successful use of

development, charting our professional

graphic design.

growth over the over the course of almost

Of course, it is much more than that.

half our grad school careers.

As the apex of a terminating degree, a

Oak & Glory was not my first thesis

graphic design MFA thesis should display

topic. In fact, I was already done with the

knowledge and expertise over a chosen

bulk of my core classes by the time I really

topic. It should be well-researched, criti-

started work on it. However, Oak & Glory

cally considered, and should be designed

charts the entirety of my maturation as a

with heightened craft and understanding.

graphic designer. One could really say we

A thesis is also much more than the

grew up together.

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FARM ROOTS BACKGROUND | OPPORTUNITY

BAC KGROUND

AMERICAN AGRICULTURE Although food is something that we can't live without, there is a dark side to how it's currently being produced

he American food chain is dominated by

campaigns in history against American

a handful of disproportionately power-

farmers, with 128 lawsuits and over 700

ful agrotech conglomerates, who have put profit ahead of consumers, farmers, and the environment.

settlements in the past 15 years. The three largest companies control 70% of global seed sales. This market power

The strong pesticides and herbicides

gives them the ability to set or influence

used in modern American agriculture are

food prices, and also gives them immense

poisoning the environment. GMO-related

bargaining and lobbying power over govern-

pesticides are contributing to the col-

ment food production policy-making. Using

ony collapse disorder in bees, which are

their control of seed patents, they are able

devastating the bee colonies vital to the

to block independent research on the real

pollination of many plant species.

effects of eating genetically modified foods,

Since their commercial introduction

while funding flattering research “studies”.

in the mid 1990s, genetically modified organ-

Companies like Monsanto are actively

isms (GMOs) have come to dominate American

trying to keep normal, non-GMO seeds out

agriculture. They refer to crop plants cre-

of farmers’ reach, buying up seed companies

ated for human or animal consumption

across the Midwest and writing legislation

using genetic engineering techniques, mod-

to make lawful seed saving difficult.

ified on a genetic level to enhance desired

They spend tens of millions of dollars

traits. About 90% of corn—the quintessential

to fight against right-to-know laws for con-

American crop—is genetically modified.

sumers, taking away our freedom to make

Transgenic crops are considered intellec-

informed choices about what we put into

tual property, which allows a few companies

our bodies, and hinders our freedom to vote

like Monsanto to control the market through

with our wallets against damaging prac-

patent monopolies. They've perpetrated one

tices that go against our beliefs.

of the most aggressive patent assertion

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OPPORTUNITY

A MISSING CONNECTION Most people don't think of liquor as food, but hard alcohol nevertheless is made from the same crops

ue to the rise of the food movement, more

ranged in age from 21 to 56, with the major-

and more consumers are paying attention

ity being in their late 20s. There were roughly

to how their food is grown and where their

an equal number of men and women in the

food comes from. Unfortunately, this same

study. Most were middle-class and well-

awareness does not extend to the hard alco-

educated, with over 85% having a bachelor's

hol that they drink, even though it is sourced

degree or above.

from the same agricultural system.

I found that in this young, educated

Whiskey is an alcoholic beverage made

population, people are very environmentally

by distilling a fermented mash of grain. It has

aware, and are actually extremely engaged in

just three ingredients: grain, water, and yeast,

trying to make good, ethical decisions about

the same three ingredients as bread.

their food. These are people who self-identify

If corn is the quintessential American

as "environmentally conscious", who shop

crop, then bourbon is the quintessential

at farmers markets and try to buy local or

American spirit. In fact, in 1964 Congress

organic when available.

decreed that “Bourbon whiskey is a distinctive product of the United States”. According to most international legal definitions, only products produced in America can even legally be called bourbon. Three elements make it unique among whiskies: American corn, pure limestone water, and aging in charred oak barrels. During my research, I conducted an in-depth 168-person survey of consumers from across the United States on alcohol and sustainable behaviors. The respondents

Yet by and large, these same people have not made the same association about alcohol. They drink, but they don't drink well. They don't realize that booze is made from the same crops as their food. They haven't thought about where the ingredients come from. My goal is to help these consumers realize that the same agricultural issues that apply to food, apply to hard spirits as well. I aim to inspire them to be mindful about what they drink.

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66%

63%

66% of survey respondents said they tried

63% of survey respondents said they made

to make environmentally responsible food

an effort to buy locally grown foods.

ARE ENVIRONMENTALLY AWARE

ARE BUYING LOCAL

purchasing decisions.

70%

WANT ETHICAL INGREDIENTS 70% of respondents reported that they were concerned about where food comes from and how ingredients are grown. They were worried about companies like Monsanto, and made an effort to buy organic or non-GMO.

97%

COULD NOT NAME A SINGLE ORGANIC OR NON-GMO LIQUOR

OPPORTUNITY

ENGAGING THE AUDIENCE Getting people to care about how their hard liquor is grown through the creation of a seed-to-bottle farm distillery brand

STRATEGY

TARGET AUDIENCE

This goal will be accomplished through the

My primary audience consists of American

creation, branding, and marketing of a cov-

drinkers who are somewhat knowledgeable

etable seed-to-bottle distillery, where the

about food issues, but do not associate it

positives of sustainably-grown spirits will

with hard alcohol. My secondary audience

be emphasized and integrated as a primary

consists of alcohol drinkers who are not

part of the brand identity.

engaged with food issues, but are open to

When was the last time you did some-

learning more.

thing because a PSA told you to? Creating

My audience are drinkers between the

an engaging, desirable brand as messaging

ages of 21 and 40, well-educated, with a dis-

vehicle will make the topic desirable, rather

posable income. They drink alcohol at least

than preachy, in the eyes of the consumer. It

several times a month. They consider them-

will also give consumers choice in the lim-

selves environmentally aware, and do make

ited market of sustainable spirits.

some effort to buy locally grown foods, but it may not be the biggest focus of their lives.

KEY MESSAGING ×× M a k e s u s t a i n a b l y f a r m e d s p i r i t s desirable ×× Help people connect that hard alcohol is made from crops. ×× Help mainstream the food movement— as in don’t just preach to the choir.

CHALLENGES I need to bring a working brand to market that delivers a sustainable message while still appealing to a broader audience. It is important to not project a crunchy green eco-friendly image and preach to the already choir. I need to create a desirable brand that will be able to win and loyalize converts in a broader audience.

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SEED TO BOTTLE FARM DISTILLERY | VISUAL IDENTITY

S E E D TO BOT T L E

GROWN AND DISTILLED IN OREGONIA, OHIO Crafting exceptional spirits using the best ingredients possible.

COMPANY OVERVIEW

BRAND VALUES

The best spirits require the best ingredi-

We created Oak & Glory to make amazing

ents. Which is why at Oak & Glory we grow

spirits—but also to be part of the change we

most of our grain ourselves. We source the

want to see. Our values are reflected in our

rest of our ingredients from our neighbors,

visual identity. It’s of utmost importance

distilling in limited batches right on our

that each element of our visual messaging

farm in Oregonia, Ohio.

be considered and meaningful

The best ingredients are ones that

The most important element is our

don't hurt your neighbors. That’s why we

farm focus. The fact that we grown our

stay away from pesticides, chemical fertil-

own ingredients from seed to bottle is what

izers, and genetically modified seeds, and

makes us stand apart. We want to put a

why we're working on getting our organic

focus on the ingredients, on authentic stew-

certification. We want to promote agri-

ardship beyond environmental buzzwords

cultural diversity by preserving regional

We are inspired by history, but we are

crops, while supporting local organic farm-

also crafting a new way to do things and

ers through the sourcing of our ingredients.

boldly pushing forwards. In our visual direc-

And frankly, we grow our ingredients

tion we may reference tradition and history,

because they taste better. Creating spirits

but we do not use historical vernacular.

from the ground up gives us control over

Finally, Oak & Glory is hand-crafted

almost every aspect of the process. It’s

and personal. Actual nature is not uniform.

about the experience of making something

Our flavor reflects the variability of nature,

real—of truly knowing our ingredients

of the terroir of our land, of the grain that

to better understand our craft. We are

we grow each season in Oregonia, Ohio. We

inspired by the past, but we're constantly

want to create a personal experience with

looking towards the future.

with an authentic sense of place.

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OAK LEAF Bourbon is aged in charred oak barrels. Oak is Americaâ&#x20AC;&#x2122;s national tree. It represents both the natural world and the American spirit.

SHIELD Shield is glory. Glory is aspirational. We are trying to leave a positive footprint, to set an example, to aim for something greater.

OAK & GLORY The two combine to form a mark which is simple, unique, and iconic. It can be easily reproduced on a variety of materials.

LOGO | USAGE Our signature is simple and iconic. We use it on official communications. It is important that the logomark not be overused, however. We want to speak with an authentic voice, not a logo.

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PRIMARY LOGOMARK

SECONDARY LOGOMARK

This is our primary brand representation. It

Our secondary logomark was created for

should be used on main location signage,

situations where our irregularly shaped

documents, web headers, and packaging. It

primary mark would not be as aesthetically

should be used judiciously.

fitting. It should be used in tactile techniques such as wood burning and embossing.

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 &  SYMBOL

WORDMARK

The Oak & Glory symbol can be used as a

The Oak & Glory wordmark can be used for

standalone mark when a simple and iconic

standalone signage and titling. It is also used

identifier is necessary.

when layout calls for a horizontal mark.

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X = ampersand height

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LOGO | APPLICATIONS Consistent use of our logo is a key part of our visual identity. Our logomark should always be reproduced exactly as they appear in our digital files. Our mark is suitable for a variety of environments, but it should never be altered or modified in any unapproved way.

BLACK ON LIGHT BACKGROUND

GREEN ON LIGHT BACKGROUND

 &  COPPER ON BROWN

WHITE ON DARK BACKGROUND

 &  WHITE PAINT ON WOOD

WHITE ON PHOTO

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DON’T WARP THE MARK

DON’T ADJUST THE DISTANCE

OA K & &  GLORY 

 OA K & GLORY & 

DON’T MODIFY TYPEFACE

DON’T CHANGE TYPEFACE

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DON’T ALIGN HORIZONTALLY

DON’T OUTLINE THE LOGO

 &  DON’T USE MULTIPLE COLORS

DON’T USE OFF-BRAND COLORS

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AVOID POOR CONTRAST

TYPOGRAPHY | SPECIMENS Our typography should be simple and practical. Stick mainly with Century Schoolbook and Proxima Nova. Veneer may be used as an occasional impact face. Handlettering is used as a display accent.

Have nothing in your house

PRIMARY | CENTURY SCHOOLBOOK Morris Fuller Benton (1919) USAGE

A BCDEFGHIJK LMNOPQRSTU V W X YZ abcdefghijklmnopqrstuvwxyz1234567890

Text | Italics Like Oak & Glory, Century Schoolbook is plainspoken and practical, and rooted in years of American heritage and history.

that you do not know to be useful

An unpretentious workhorse typeface, its Clarendon-like features hearken back to the American farmland.

A BCDEFGHIJKLMNOPQRSTU V WX YZ abcdefghijklmnopqrstuvwxyz1234567890

OR BELIEVE TO BE BEAUTIFUL

SECONDARY | PROXIMA NOVA Mark Simonson (2005) USAGE Headings | Mouse type

ABCDEFGHIJKLMNOPQRSTUV WXYZ abcdefghijklmnopqrstuv wxyz1234567890

Proxima Nova is a modern creation, but Oak & Glory isn’t bound by retro nostalgia. We chose Proxima Nova because its high x-height and round legibility pairs it well with Century Schoolbook.

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IT’S THE PEOPLE’S DRINK. IT DOESN’T GET MORE AMERICAN THAN WHISKEY ab cdefghijk lmnop qrs t u v w x y z 123 4 56 7 8 9 0

IMPACT | VENEER Ryan Martinson (2012) USAGE Headlines | Impact type Veneer is used in instances when we need a condensed impact typeface. Use sparingly.

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ACCENT | HANDLETTERING Handlettering is used as a display face for packaging. It is the typographic representation of Oak & Glory at its essence: hand-crafted, personal, and rooted in tradition. In order to maintain its visual impact and provide contrast, handlettering should be limited to packaging and promotional materials.

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ACCENT | OAK & GLORY PATTERN Although we don’t use it often, our accent pattern is another example of our attention to history, craft, and detail. It may look like just a texture, but the pattern is based on the traditional American quilting pattern for the oak leaf.

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PALLETE | MATERIALS We heavily incorporate a tactile palette of rustic and natural materials to emphasize our farm origin. The selection of wood and copper coloring should be eclectic rather than rigidly uniform.

PRIMARY | ECLECTIC DARK WOOD

PRIMARY | COPPER

Use a variety of dark, aged wood. Rough

Try to use actual copper metal whenever

texture, not too red, not too finished.

metallic elements are needed.

SECONDARY | GLASS

SECONDARY | CANVAS

SECONDARY | PALE WOOD

When using glass elements, do not be too

When using cloth, use canvas whenever

Although dark wood is primary, occasional

decorative. Choose for plainness, straight

possible or available. If not canvas, then

touches of unfinished pale wood can be used

cylindrical shape, and a thick base which

choose for natural, unbleached fabrics.

as a contrast element, especially if contrasted

echoes our glass bottles.

against copper.

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PALETTE | COLORS We use Oak & Glory Green as our trademark color accent, but its use should be subtle and judicious. Our brand colors echo the coloring of materials palette.

ACCENT | OAK & GLORY GREEN

PRIMARY | DEEP WOODS BROWN

PRIMARY | COPPER ORANGE

PMS 3292C | C0 M43 Y90 K0

PMS 411C | C30 M42 Y34 K75

PMS 144C | C0 M43 Y90 K0

R243 G139 B60 | #F38B3C

R94 G81 B77 | #5E514D

R243 G139 B60 | #F38B3C

SECONDARY | CANVAS BEIGE

SECONDARY | BLACK

SECONDARY | WHITE

PMS 7528C | C0 M43 Y90 K0

Process black | C0 M43 Y90 K0

C0 M0 Y0 K0

R243 G139 B60 | #F38B3C

R255 G255 B255 | #FFFFFF

TERTIARY | RED CURRENT

TERTIARY | FOLK ARTS BLUE

PMS 7426C | C5 M99 Y44 K22

PMS 2718C | C65 M45 Y0 K0

R164 G18 B63 | #a4123f

R92 G136 B218

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#5c88da

PHOTOGRAPHY Because we are trying to both highlight and create an authentic sense of place, photography is extremely important. Having a consistent photographic style gives a visual setting for Oak & Glory and helps convey our story. We use a palette of photographic styles and subjects to evoke our emotional vision of a small farm distillery in the American midwest. Since we are focused on portraying authentic farm origins, it is doubly important that we use our own photography whenever possible. It would be dishonest to our brand to pass off a stock photo of a random farm as that of our own.

PHOTO STYLE | DRENCHED IN LIGHT Impressionistic use of light. Warmy, dreamy, nostalgic afternoon sunlight, like in a perpetual state of indian summer. Natural light, especially golden hour sunlight, is preferred.

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PHOTO STYLE | SHALLOW DEPTH OF FIELD Shallow depth of field, in some instances more dramatic than in others. Dynamic compositions with a strong sense of perspective.

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PHOTO SUBJECT | CRAFTSMAN AT WORK Feel of craft, focus, attention to detail. No looking at or acknowledging camera, no posing, always be in the middle of some sort of action. Must look naturalistic, not posed. Prefer single person in each photo, not two people crowded together, unless necessary.

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PHOTO SUBJECT | HANDS AT WORK Hands in action. Shallow depth of field. Shots from a variety of angles—front, side, even top-down. The feel is personal, intimate, and somewhat anonymous, with great attention paid to detail and craft. The focus should be on the action, not the hands.

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PHOTO SUBJECT | FARM LANDSCAPE Broad and nostalgic mood with a strong sense of place. Straight horizon line. It’s okay to show weather or change or seasons, as that’s the natural way.

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BUSINESS SYSTEM Our business system is an example of our visual identity in action. It reflects our materials, our sense of craft, and our attention to detail. It also displays the tactile quality and textural motifs that help make up the Oak & Glory brand.

AMERICAN SPIRIT IMPLEMENTATION

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PRODUCT | BOURBON Our Fire Roasted Corn Bourbon is our primary and flagship product, distilled with corn that we grew on our farm. The plain-spoken name reflects our dedication to transparency and authenticity, and focus on farmed ingredients. We think what’s inside the bottle should speak for itself.

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PRODUCT | FARM SPIRITS While Fire Roasted Corn Bourbon is our flagship product, we also have several other spirits in the works. These include Apple Jack, distilled from heirloom apples grown in our organic orchard, and a line of infused vodkas based on our foundersâ&#x20AC;&#x2122; authentic Russian recipes. Each productâ&#x20AC;&#x2122;s name reflects the nature of its ingredients.

A PINT OF GLORY Our entire product line also comes in 375mL “minis”. Our small bottles are designed to be used with promotional packaging, so the bottle shape is standard across the line so that we can purchase greater bulk when ordering custom packaging.

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THOUGHTFULLY WORDED Like many other liquors, our bottles are marked with our batch and barrel identifier. Ours are hand-stamped in custom Pantone Oak & Glory green, and emphasize how small our batches are. On packaging, our ability to talk about the quality of our ingredients is limited due to strict TTB COLA (Certificate of Label Approval) regulations. For instance, we are not allowed to mention either the presence nor absence of GMOs. Although we employ organic farming methods in every sense of the word, we cannot use the word organic on the bottle because we are still working on our certification. This is why only the vodkas are labeled “organic”, as we actually be sourcing the primary ingredient from a neighboring organic farm.

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PROMO | TRADE SHOW DISPLAY When launching a brand new spirit, our first stop is to actually find distribution. Our trade show setup is designed to emphasize our farm origin and to highlight our ingredients. Also, to look pretty darn cool. Obviously, we want to create impact and leave a distinctly memorable impression.

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HIGHLIGHTING THE INGREDIENTS Our little ingredient jars are designed to allow the audience to really interact with our ingredients. They can touch them and smell them and truly know that goes into their Fire Roasted Corn Bourbon. Each tag lets them know a little bit about the origin story.

WINTER WHEAT Gurneyville Farms Certified organic and locally grown on a family farm outside of Oregonia. Selected to give added sweetness to the bourbon.

HEIRLOOM CORN Oak & Glory Farm Non-GMO, grown without use of pesticides or chemical fertilizers. Chosen for highest sugar content amongst non-GMO corn.

MALTED BARLEY Briess II Row Malted barley is sprouted barley. The little leaves on the seeds contain enzymes that help with the fermentation process.

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PROMO | MODULAR PRESS KITS When we launch a product, there are times when we want to make a great impression, and there are times when we want to pull out all the stops and make the best impression of all. That’s where our promotional press kits comes in, with a sample bottle, an informational booklet, and something to house the two in. The book and bottle are designed to fit perfectly in both the bag and the rigid setup box. At the product launch, you get a bag. If you’re a potential investor, we’ll give you a box. As a startup microdistillery, we operate on the absolute lowest end of wholesale. It is extremely cost-prohibitive to get custom packaging when one can barely buy in bulk. This has been designed into the equation: Although our larger bottles are different, all of our miniature products use the same bottle, so we can order our bags and boxes at a greater bulk discount and use them across the product line.

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MEDIA | WEB PRESENCE As a small startup with limited distribution, we rely on the miracle of the internet to help get the word out through our website and Facebook accounts. On our site, consumers can learn more about us, as well as sign up for email updates about upcoming products. If you’re looking to ever purchase from our website—you’re out of luck because that’s legally impossible. However, you can find out where we’re sold, and even take a virtual tour of our farm

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MEDIA | VIRTUAL TOUR Consumers can take a virtual reality tour of our farm distillery via desktop or smartphone. This unique and novel experience helps them further engage with our brand. It also serves to emphasize our farm-focused messaging, and helps reinforce our sense of place.

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100

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MEDIA | PROMOTIONAL VIDEO Our audience can view our spiffy promotional video online, which does a pretty good job of introducing our company. Even better, it summarizes my thesis. I edited the audio and video myself, so I do have the capability to create an actual commercial in the future.

FUTURE | TASTING & TOURS Consumers can content themselves with taking the virtual tour now, but eventually we plan on having tours and tastings directly at our farm in Oregonia, Ohio. They will be able to see the entire process of how their spirits are created, from seed to bottle, straight from the source. They will be able to experience the changes of the season, the cycles of the crops, depending on what day, what month, or year they visit. They will really, truly know where their spirits come from.

GROWING SEASONS RESEARCH | DEVELOPMENT

DE VE LOPME NT

GROWING SEASONS Yes, it’s a real company. How creative directing a startup made a real designer out of me.

farm. A distillery. A girl. And a thesis.

Old Grand-Dad and Old Forrester and Old

You may have guessed by now that Oak

Anything were perfectly good names for

& Glory might be slightly more real than

bourbon, and especially because the domain

the average thesis, or else I’m just really,

name happened to be free.

really good at Photoshop. Both, actually.

I wasn’t a real designer back then

I’ve been told that a thesis’ success

either. At least, I don’t think I was. By that

has little to do with how “real” the finished

time I was already done with most of my

project is, but rather, how successfully

core classes, but I was half-sure and half-

the chosen problem was tackled using the

hearted and had never released anything

magic of graphic design. I hope my project

into the real world.

can stand on its own, even if everything turned out to be mockups and mirrors.

While my classmates were getting internships, I learned the ropes with Oak &

But yes, Oak & Glory is a real com-

Glory. I learned about budgets and learned

pany. It exists in the green hills of Oregonia,

to love sourcing. I learned to solve problems

Ohio, just north of Cincinnati. You can visit

with high stakes and real limitations, and

it sometime. Or you can visit it online,

to project manage getting a brand off the

because the virtual tour is very much real

ground. I learned to design with meaning

as well.

and obsessive consideration.

I didn’t start the company. Gene and

Although all the products are mock-

Alex did. I am, however, the creative direc-

ups and we’re only distilling bourbon at the

tor and a junior partner. I did the naming

moment, everything in this book has been

and branding and packaging and copy-

designed for production, with very practical

writing. When I first signed on, Oak &

considerations. The following pages contain

Glory didn’t exist yet. It was “Old Grizzly

a brief sampling of my process.

Spirits”—so named because Old Crow and

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ORIGINS | OLD GRIZZLY SPIRITS This was the original logo. It was bought using a spec work contest on 99Designs (before I was around). Back then, it was a farm and a distillery, but being a “farm distillery” wasn’t part of the brand narrative. I actually did a semester’s worth of work using “Old Grizzly Spirits” until I realized that in order for this to work, the name had to be changed into something with real meaning.

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PACK AGING | CORKS Designing premium packaging for Oak & Glory meant trying to compromise between budget and added value, while working around the limitations of our extremely, extremely small scale. Designing unique packaging at the absolute bottom end of wholesale presents a couple of particular challenges. The most obvious one is that any additional packaging element adds much more to our unit cost, because the less you order the more it costs per unit. I got pretty good at hunting for vendors and suppliers and striking the right balance to create the most value for the least amount of money. Another challenge in customization was finding ways for us to be able to even qualify for minimum orders in the first place, as our numbers are so small. I found solutions by designing as much use for each element as possible. Having a wood cork adds significant value to our product over having a having a screw top. Having a cork that is varnished and printed also sends a much more premium message than using a generic indie natural wood cork. In order for us to qualify for our cork manufacturer’s minimums, I designed all our products with bottles that have the same neck diameter.

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BLACK TAMPOPRINT

LASER

LASER PRINT

BLACK TAMPOPRINT

LASER

LASER PRINT

UV LASER

LASER

GOLD TAMPOPRINT

UV LASER

GOLD TAMPOPRINT

GRAY TAMPOPRINT

GOLD TAMPOPRINT

BLACK TAMPOPRINT

LASER

LASER PRINT

BLACK TAMPOPRINT

LASER

LASER PRINT

UV LASER

LASER

GOLD TAMPOPRINT

UV LASER

GOLD TAMPOPRINT

GRAY TAMPOPRINT

GOLD TAMPOPRINT

PACK AGING | BOURBON Our Fire Roasted Corn Bourbon boasts packaging that is a balance of investment versus budget. Since the bourbon is our first and flagship product, we really wanted to give it some standout packaging. The label is screen-printed, using a distinct bottle exclusive to our French supplier that has never been used amongst bourbons. The Long Island Bottle is relatively pricey and due to its shape, cannot be decorated in-house. Our side product lines are so small that it would be too cost-prohibitive to use this bottle, so for the time being this is limited to our main bourbon product.

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PACK AGING | APPLE JACK For the Apple Jack, I played up its frontier heritage using the Moonshine bottle and a more rustic-style hand-lettering. Both the Apple Jack and Vodka are only going to be produced in extremely limited quantities. Their packaging has been designed with that in mind. They utilize cheaper (though more generic) cylindrical bottles that can both be affordably purchased at sub-wholesale rates. Because the bottles are cylindrical, these bottles can also be quickly and affordably decorated in-house using an Easy Labeler. The bourbon bottles are screen-printed, but that would be much too cost prohibitive for the Apple Jack and Vodkas because of scale. Nevertheless, I wanted to products to not only look eclectically cohesive, but also be transparent to showcase what is actually in each bottle. In production, these bottles would be decorated using transparent adhesive labels that emulate the effect of screen-printing.

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PACK AGING | INFUSED VODK AS The vodkas use the Nordic bottle, which you see very commonly amongst craft and indie spirits because it is both attractive, and attractively priced. It is by far the cheapest good-looking bottle, and has no order minimums. Although I would not use this bottle for our main line because it is so common, it is well-suited for quick releases of small limited-run products. In production, the label would be a clear adhesive label applied in-house on an Easy Labeler. Though the bourbon is limited to all-white printing due to screenprinting costs per color, here I took advantage of the affordable color and foil capabilities of clear adhesive labels. Both bourbon and apple jack are singular products that exist solidly in the American heartland. The vodkas are an example of how a product line, with an extremely different product, would be able to live and express itself in the Oak & Glory visual system.

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AMERICANA MEETS SLAVIC FOLK ART Both the founders are Russian, and the infused vodkas are made with authentic Russian recipes. The challenge of this packaging series was to design a product line that looked cohesive next to the rest of the Oak & Glory brand, while still remaining true to its authentic Russian narrative. I accomplished this by marrying elements of Americana and Slavic folk art.

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CLIENT LOCATION NAME CONTACT

OAK & GLORY FARM DISTILLERY

Work Order#

1865 MURRAY ROAD, OREGONIA, OH

DATE

MONICA WU 650-919-3871 / monica@oakandgloryspirits.com

DESIGNER

4211 03/10/2014 YUSHI MAEDA

1 OF 1 REVISION 1

~44.0"

36.0"

PMS 3292 C STAINED DARK WALNUT

24.25"

METALLIC COPPER STANDARD WHITE

8.0" 30.0" 5.0"

A APPROVED

5.0"

DOUBLE-SIDE SANDBLASTED WOOD SIGN W/ RIDER INCLUDING 6x6 POSTS W/ CAPS (WILL BE STAINED DARK WALNUT)

RESUBMIT WITH MARKED CHANGES

APPROVED WITH MARKED CHANGES

Signature:

This design is the property of Sign-A-Rama Tri-County. All rights reserved. Copyright © 2013. Colors are not exact. Be sure to review all spellings, numbers & colors. Sign-A-Rama is not responsible for errors once approved.

Date:

/ /

www.signs-cincinnati.com

DESIGN | BUSINESS SIGN When everything is up and running, the distillery will only be open for tours about half the year. The sign is designed with that in mind, with a removable hang-sign.

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T HANK S

ACKNOWLEDGEMENTS I would like to thank and acknowledge the following people, without whom this would not have been possible First and foremost, my awesome husband Rob, for his endless love and support,

My friend and mentor David Hake, for his faith and guidance.

through years of all-nighters and tears and

I would also like to thank: Song Yuhan,

putting up with a house constantly explod-

for watching my back in China. Rebecca

ing in design school madness.

Sanders, for using her company to distrib-

My Oak & Glory business partners,

ute my research survey. Rami Geller, for

Eugene Pyatigorsky and Alex Matsukevich,

his early advice and input. Joe Danzer, for

for their teamwork and dedication, and for

going out of his way to take on our small

letting me run amok creatively with Old

photoshoot. And finally, Olesya Strysek, for

Grizzly Spirits.

her incredible product photography.

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