Foo Fighters, Phish, ParaNorman, Electric Forest ... illustrator Drew Millward has created original artwork for them all. And in 2016, Dogfish Head is lucky to have had him create four new original pieces for our seasonals: Romantic Chemistry, Festina Peche, Punkin Ale and Beer for Breakfast!

Once again, you'll see the work on labels, T-shirts, posters and more. 

Get to know Drew in the interview below, and check out his killer portfolio here! 

How long have you been an illustrator?  
Well, it's been a long road. I suppose I always enjoyed drawing, but it wasn't until after University that I really started drawing again. We were putting on bands, so I fell into making posters for those. That was around 2004 or so, but it was a while after then that I really started to take it seriously.  

We have a saying we use a lot to talk about our beer – "Analog beer for the digital age." – could you tell us a little bit about how you use analog and digital techniques to create your work?  
Certainly. To start with, I did everything with pencil, pen and ink. That really carried on for quite a long time. I'm glad it did, as it allowed me to lean how to make images and develop a style, which I'm not sure would have been the case had I worked digitally from that early stage. Once I started to screen print, I had to introduce a digital element to the work in order to create layers and colors into the work (admittedly, it's possible to bypass the digital stage altogether and cut rubylith, but that's a story for another day). From there, the digital elements started to enter into the work process. I now tend to work digitally for a vast portion of the process, but since I work with a Wacom Cintiq (like a big monitor that you draw on), the actual physical act of drawing hasn't altered a great deal - it just makes the process flow a lot easier. However, it always starts with some paper and a pencil. When people ask me about the digital/traditional balance within my work, I usually use the analogy of learning to play a piano, but then moving over to a synthesizer. Having that as a tool is great, and allows you to achieve some things that wouldn't be possible physically. But it is just a tool - you still need to have the ability to use it correctly to get the best out of it.  

How is approaching posters based on beer brands different than, say, a movie, a band or a specific personality? Does your process change at all? 
I wouldn't say it's wildly different. You are still trying to reach an audience and speak to them, to convey a message. You need to appeal to that particular demographic and hope that they can follow the visual language you are using. For example, you wouldn't make the same poster for Slayer that you would for Bob Dylan. With this project I looked back at some traditional breweriana and took elements from those earlier languages and reinterpreted that in my own style. The input from the brewery, in terms of taste, ingredients and name of the beer set me up for a fairly easy ride. That basis is there throughout any project, really. If it's a film poster, it tends to be fairly prescriptive. The things you are illustrating already exist in the visual realm, so there is less license to create something overly unique to your own vision. With gig posters, you are starting from zero. It's my job to visualize something that the band has created sonically, which is really rewarding and a huge amount of fun. Illustrating a beer is similar to that, you are trying to visualize other senses.  

Poster for Phish

How much input do your clients give on content? 
It varies with each job, to be honest. I'm very luck in the fact that people come to me because they like what I do, so in a lot of cases I'm left to my own devices. Each project differs greatly, so if a client has an idea of what they want the final outcome to be, I know then whether I'll be able to achieve that. In some cases you have to turn clients down because it wouldn't be a good fit for everything.  

You’ve worked with a lot of big names, and at some point must have worked with bands or actors or directors that you really love. Do you ever step back, pinch yourself, and think, “Wow, it’s really cool to be a part of this creative world”? 
Yes, all the time. I'm a grown man who draws pictures for a living. That is not something I ever thought was even a possibility. I certainly don't ever take things for granted and I'm massively thankful each day that people hire me to do things, buy my work or even show an interest in what I do.  

What do you like to play with when you’re drawing something? Composition, size, color … all of the above?
Everything. Just getting an idea and running with it is fun. Sometimes it's a total train wreck and you can lose a day or two on something which you would never allow to see the light of day, whereas other times those spontaneous decisions can shape your work going forward. The smallest doodle or idea can end up sparking an entire body of work. It can be daunting, to sit down and stare at a piece of paper, knowing that the possibilities are endless, but it's fun. Each new piece should be a progression.  

Foo Fighters Poster

Who do you admire in illustration, past or present, and why? 
I admire anyone that can make work, enjoy it and share it with others. There is too much negativity in the world, so the act of creating something, whatever that might be, can only be a good thing.  If I started a list of illustrators I admire I would be here all day, and it would only stand to annoy anyone I might have missed. 

At Dogfish, we’ve learned to embrace the intersection of art (in liquid form) and business. Was that ever tough for you? 
Always. I'm still no businessman - I can assure you of that. I enjoy drawing pictures, listening to records and drinking beer. Now, if I can find a way of monetizing beer drinking and record listening, I'll be set for life!

Click here for more of Drew's work.

Annnnnd now presenting … our 2016 seasonal artwork!

Romantic Chemistry

Festina Peche

Punkin Ale

Beer for Breakfast