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Banking on Community

Glens Falls National Bank and Trust Company is a local anchor. The sign shown in this photo is visible from our window, one side features the time, the other the temperature. We often call out, “What’s the temp?” before heading out for lunch, the Glens Falls National Bank sign helps us know to bundle up accordingly.

An image of Glens Falls National Bank's flagship location in downtown Glens Falls beneath a bright, blue sky. In the foreground a digital clock tells the time.

Glens Falls National Bank has been the place for people to go for mortgages, home equity, and car loans since before any of us, or our parents were born. Banking has changed a lot, continues to change, keeping pace is a dance.

The majority of 2018 was spent delivering a message of commitment. As a society, we have become accustomed to immediate gratification. There’s no denying the joys of convenience, but playing the long game, we believe that driving home the idea of faces you can see, people you can literally turn to, and investments in the communities people live in can be a value-added benefit to local banking.

People often talk about campaigns as love letters to an audience, in this case, it’s actually true. From spreads in print collateral:

An image of Glens Falls National Bank's brick building on Glen Street in Downtown Glens Falls alongside a page reading, "Caring for our community since 1851."

to billboards in communities across the region, Glens Falls National Bank reached out to its neighbors to let them know that in addition to helping members achieve financial goals, they are putting money back into the community.

A stark billboard against a blue sky, reading a in cursive font, "Hello, Glens Falls. We're investing oin you."

Traditional messages about products they offer also flashed across screens and traveled in envelopes, sending a message that Glens Falls National Bank cares about supporting your quality of life, at home and at the office.

A man and a woman stand in a kitchen, he wears an apron while she romantically places a bite of something in his mouth. To the right of the image it reads, "Someday is now" as a lead in to an ad for home equity loans. A digital banner ad reading in white type against a deep red background, "Small Business Banking, we work for you. Glens Falls National Bank and Trust Company."

As we look over at that sign and think about how many people have checked the time or the temp over the years, we can’t help but feel proud to be part of a locally committed bank.

Honoring Emotion

When I worked in theatre I used to say that “when you stop having butterflies before a performance, it’s time to stop.” Theatre is unapologetically rooted in emotion, people are literally chasing the prospect of feeling something.

Tell me a story, take me to another place, teach me something.

Pierce my world with magic.

A shot splitting the view of backstage and the house

Standing backstage, waiting to perform or poised at the fly rail to send in a drop, I always felt lightheaded. The audience and the production have different chemistry at every performance, you can’t know until the curtain flies out, the lights go up, and the audience is invited in, whether the crowd is hot or you have your work cut out for you. That’s the thing about emotion, not everyone is comfortable with it.

I’ve moved from theatre to communication and it often feels like emotion is the last thing people want. People have a feverish need for confidence and stability, which is understandable as money is invested and huge leaps of faith are taken with brand and story. What sometimes get lost is that emotion is a fuel. Nerves can help with focus, excitement can sustain interest on a team, and the rush of venturing beyond comfort can lead to remapping boundaries.

The backside of presentation boards face out from a long wooden bench before a presentation.

The other day we were presenting logo drafts to a client. There were a number of versions to show, each one the result of numerous rounds of internal revisions and edits. The work was backed by research, polling, and experience. We had rehearsed our presentation and worked through specific ways to discuss different strategies. This particular project involved pitching a small group. They are intelligent, invested in the process, and respect our opinion. Despite all of this, my palms were sweaty and my voice was shaky; I had butterflies.

A group f of people gathered in a wood paneled conference room to review a presentation.

When these moments of anticipation and nerves come, I don’t fight them. There should be pressure and I should be channeling my energy into creating emotion. Maybe they hate the logo or they fall back in love with what they’ve had, perhaps the process of seeing how things feel leads to an exciting new direction. The important thing is that as we gather to consider the work, we feel something.

People gathered around work tables reviewing artwork pinned to a whiteboard.




Producing ‘Create You’ Took Precision

The SUNY Purchase ‘Create You’ campaign was intended to speak to prospective students about how Purchase could help them take steps towards becoming who it is they want to be. The piece extended beyond academics, highlighting clubs, connections, and community they would be introduced to and become a part of while attending the college. We wanted to show the individualistic nature of the Purchase experience, a heavy lift for an eight-page booklet.

Four brochures for SUNY Purchase are spread out on a table. Each brochure has a student on the cover.

We honed in on demonstrating the way students have more than one side to them, reflecting the mirrored importance of their campus life and the things important to them outside of academia. Integrating overlaid cover images and using an angled die cut revealing the image beneath, we designed an approach that let us do more than a traditional viewbook. Put more simply, we designed extra covers. We intended to produce multiple versions, six total, to cover the wide range of interests, studies, causes, and talents of the student body.

Bright colored brochures open on a table.

To further this exploration into the students’ true personalities and to represent the freedom offered to them at Purchase, we allowed the students to costume themselves, no limits or censoring from the college or ourselves.

A split screen photo shoot with a male college student in two different outfits, the first in traditional masculine clothing, in the second he is in a burxgand lace gown.

Reading between the lines you could say that we created an unpredictable scenario with an incredible reliance on accuracy and continuity. We worked, on-site, with the incredible Kelly Campbell, a photographer closely associated with the college, to stage identical photos in completely different costumes for the die cut covers. The final result was, in my opinion, a great victory in producing unique higher ed content and overcoming the difficult production hoops one has to jump through when running wild with a unique idea.

A young black woman faces the camera wearing a black t-shirt with the BLACK LIVES MATTER written in bold red and white letters.

While working on this project I felt as though I was also undergoing my own version of the ‘Create You’ experience. It was an overwhelming and exhausting series of firsts—

The first time I had to fully execute a concept that was not my own.

An African American woman can be seen in front of cameras and lights through the back of a man and woman.

Rob works to set up the shot of a SUNY Purchase student, which will then be recreated with the student in an entirely different outfit and vibe.

The first time I had to consistently travel for work.

The first time collaborating with a freelance photographer.

The first time allowing models to outfit themselves (I’m still sweating).

The first time helping oversee the production of such a complex print piece.

All firsts, of which I hope there will be seconds and thirds and so on, and all things that will help to make me the designer/art director I want to become.

Cobleskill Through the Tramp Lens


An active video shoot on the SUNY Cobleskill campus. The sky is wide and blue overhead, two photographers stand on the bright green grass while another crew members holds a boom mic toward a blonde female student being interviewed.

Terese Garcia:

The Cobleskill series of collateral that we worked on was visually stunning because of its color, image selection, use of texture, a visual play on words, and overall unique physical features.

The first project of the Cobleskill series was the “Travel Piece.” This was a small piece that would cover both the school of Agriculture and the School of Business and Liberal Arts & Sciences and be handed out to potential students as Cobleskill traveled to high schools. This is often the first interaction a student will have with a new college.

Photography, Typography, and Diecuts Telling a Rich Story

The travel piece was a 12-page brochure with a short fold cover and short fold center spread. The overarching theme on the cover was to have two images juxtaposition in content visually continue across the short fold. Image selection would be necessary to make that strong visual connection while at the same time be true to Cobleskill and show all that they have to offer memorably.

Two brochures for SUNY Cobleskill sit on a dark wood table. They have photographic images of a clock tower and a cow pasture.

There was also a type element that followed the same concept. Headline words that ran across the short-fold cover would finish similarly with purposeful letters from the reveal page. The message was strong.


A SUNY Cobleskill brochure sits on a table with a page break showing how the word culture on the front, switches to future when the brochure is opened.

This concept and design that incorporated image-precise short folds with sentence-finishing type reveals would play out on two other view books and the Junior piece. Production of these pieces and attention to detail would be necessary. Having an excellent printer would be critical.

The Cobleskill collateral also tested our color matching chops. Cobleskill’s orange is very bright—Pantone Orange 021 to be exact. As often happens, that Pantone color did not translate well to the four color process. It became very muted and soft. We chose two CMYK color breakdowns that we thought worked well. One to represent that Cobleskill orange and another to compliment the clapboard texture that was being used throughout.

A photo of stacks of print poofs of unfolded brochures with images of a clock on the Cobleskill campus and a post it with Pantone chips and a color formula for accurate printing of specific colors.

This was a project we had the good fortune of shepherding on press. We were also able to have more than one piece printed at together: the travel piece, two view books, the Junior piece and two postcards to be exact. The benefit of that was that once we had the color adjusted and all of the pressmen on board, there would be color consistency across the pieces. This little tear from a color proof and chicken scratch on a post-it note served to be very important throughout the proofing and press-check process as well as for future pieces (that die-cut cow!)

Nine pieces of print collateral for SUNY Cobleskill displayed on a table. Two very pronounced pieces include a diet cow and a die cute of a building on campus with a cupola.

In the end, we were able to provide Cobleskill with a series of pieces that were bright, inviting and memorable. Important when trying to catch the eye of a prospective student or reassure a future student that Cobleskill is the college for them.

A photographer crouches and laughs as he pets the head of a flirtatious goat.

Bringing Collateral to Life Through Illustration

Oliver Derosier:

Cobleskill is an institution that stands apart from the pack. Students explore complex ecosystems in one classroom and re-assemble tractor engines in another. Cows are tended to in a dairy barn with the colorful Schoharie hills in view. A few hundred feet away, a kitchen full of eager young cooks preparing a chocolate fondue.

I was lucky enough to experience this vibrant campus culture first-hand on a photoshoot. Every classroom felt like a world of its own and yet there was an undeniable connection between each space. Subjects varied from a horse therapy class to students mapping out farmland with drones. A collective enthusiasm for the present and future was observed in every corner of campus, and we raced to capture all of it. We had the opportunity to witness the unique experience Cobleskill has to offer. For those intangible moments and feelings that Photography couldn’t quite capture, we turned to illustration.

When the time came to consider how students would receive their highly anticipated college acceptance letters, we knew It had to be big, bold and undeniably Cobleskill. Through extensive research and teamwork with the admissions department, we landed on the concept of a larger-than-life campus panorama. Instead of a realistic view, structures and scenes were arranged to create a sense of the passing of time, from the start of a day to its end. Little details like the school’s tiger mascot and the famous campus clock tower especially resonated with Cobleskill’s team. Vibrant colors and art-style helped to paint a picture that we felt could instantly feel like home to anyone.

Through photography, we were able to capture so many moments grand and small that were all crucial to the bigger picture. Illustration allowed us to depict scenes that blurred the lines between memory and imagination. Having both tools available to us and the skills to execute a shared vision lead to a suite of materials that we were all beyond thrilled with. In a poster for counselors and students, the glow of a campfire beneath the pavilion and a bright starry sky portrayed the splendor of Cobleskill’s scenery, and the limitless potential to grow and succeed there. In a piece for prospective students, the image of a class conducted in a freshly cut corn field was juxtaposed against a 3-D printer in action. Bucolic images accompanying those of tomorrow’s technology and jobs re-inforced Cobleskill’s tagline.

To capture both the spirit and characteristics of such a place requires more than a camera and more than a pen and paper. Our relationship with Cobleskill is one that flourishes with teamwork and a shared passion for thinking differently. Courage to hold firmly to values and culture, and vision to look progressively to the future.


From Pigeon to Peak

Pass revenue for Peak Resorts is up 20% year over year. It’s a great way for us to start 2019, but we do have to go back a bit to explain the title of this post and the value and significance of relationships.

The story of Trampoline’s path to Peak Resorts can be traced back to our very start:

It was the spring of 2004 and we were waiting to pitch the yet-to-be-opened Ridge Street Coffee Company. I was pacing on the sidewalk outside, leafing through portfolio samples, wondering if it was a waste of time. A coffee shop wasn’t going to be a flagship client, after all. But, it was in a high-profile location, and that meant everyone would see our work.

The bird guano hit my shoulder and brought me back to the task at hand. I looked up at a pigeon perched high on a streetlight. Fresh poop was splattered on my brand new sportcoat. Derek started laughing and Amanda shrugged and said, “Hey, it’s supposed to be good luck.”

It turned out to be. I pitched in shirtsleeves and soon we were creating a retail environment and ad campaigns for the café. It became a favorite among locals and one regular in particular asked who did their marketing. So it was that we met John Duncan.

John was an outdoor-nut-turned-retailer operating several outdoor gear shops (Syd & Dusty’s) in resort towns like Stratton, VT and Lake George, NY.

He also owned a rafting outfit on the Sacandaga River. John hired Trampoline to rebrand the Sacandaga Outdoor Center, and create a series of ads, brochures and a website to capture the eyes of Adirondack visitors.

After several seasons of summertime support, and steady growth of tourist paddlers, John took Trampoline with him to his winter gig at Alta Ski Resort in Utah.

Derek is a regular in the Wasatch Range, so the opportunity to create materials for Alta was a dream come true. John wanted merchandise that was unique and distinct from the offerings at nearby resorts and Trampoline did not disappoint. We still tell the story of the phone call to notify us that an entire order of shirts had sold out in 45 minutes.

The shirts read: 6” is so Vail.

On-property spending improved so much at Alta that John Duncan mentioned us to his childhood friend, Paul Slutsky. The Slutsky family owned and operated Hunter Mountain in the Catskills of NY for generations.

Hunter had a bit of a reputation as a rough mountain for hard-charging skiers and even harder partiers. Gerry Tchinkel, Hunter’s Director of Marketing and Sales, took a chance on Trampoline to soften that image, and make Hunter the destination of choice for skiers in the NYC Metro market.

Hunter Life Magazine

For several seasons we tailored the Hunter Mountain image to a family-friendly, four-season destination. In addition to their snowmaking prowess, we promoted weddings, summertime concerts, zip lines, and off-road challenges and watched awareness grow. Gross sales steadily improved 15% annually.

The Hunter: It Gets in Your Head campaign cemented the resort as New York’s favorite ski mountain, and won Best-in-Show at the Capital Region Ad Federation’s ADDY Awards, and was also awarded a NYSTIA Award of Excellence.

Hunter looked the part and was still rising in popularity when it was purchased by Peak Resorts in 2016. Peak kept Trampoline on as a vendor, and we met Greg Fisher, the Northeast Director of Marketing for Peak Resorts. He was carefully vetting his team, assessing needs, and who best to tell the stories of seven different properties.

Over the past three years, Trampoline has played an increasingly important role in support of marketing teams at Peak resorts in New York, Pennsylvania, Vermont, and New Hampshire.

Four of the seven mountains have been rebranded and received a complete communications overhaul, with positioning statements, ad campaigns, collateral, broadcast, outdoor and social impressions contributing to ticket sales.

Peak Properties are well-represented in the New England landscape, and, with the acquisition of three new mountains in Pennsylvania, opportunities to communicate with skiers in the Mid Atlantic states will create a sales funnel that looks a lot like a Black Diamond.

In 2018 Trampoline targeted the coveted 18-29 year-old demo specifically. The Drifter campaign resulted in a 27% jump in sales since last year. Traffic on Peak sites spiked on Cyber Monday, thanks—in part—to a carefully choreographed social onslaught of content. Measured against the previous season, 2018’s hits were five times the amount of last holiday season.

Incredible outcomes—the result of consistent messaging and repeat impressions. Trampoline has worked hard with the team at Peak to position each property as a guaranteed good time, and cross-promote their properties whenever possible. After all, a rising slide lifts all coats, or something like that.

Numbers are the proof of a successful campaign, examined afterward in a black and white comparison of efficacy, a post-mortem of sorts. Measurements help hold marketers accountable, and we love to move the needle on market share. The results are only half of the story, though. The success of any campaign is built on partnerships, suggestions, referrals, and risks.

A coffee shop > a whitewater rafting company > a Utah outfitter > a mountain in the Catskills > Property magnate with $132,000,000 in annual revenue.*

I doubt that we could have planned for things to progress this way, even though there were strategies and growth plans in place. Much of the success was due to the contributions of partners outside the agency.

Katie O’Connor, Jack Fagone, Thad Quimby, Greg, Gerry, John—pros that we’ve worked and played with. Outdoor adventure lovers who set goals and are willing to let us do what we do best to accomplish them.


Superheroes of Design

When I learned that Marvel Studios patriarch Stan Lee passed away recently, it struck a chord with me. I collected Marvel comic books and trading cards growing up; it’s largely what sparked my interest in drawing and graphic design. I filled countless notebooks with sketches of Spider Man and Wolverine, and monopolized the TV watching X-Men cartoons on Saturday mornings. My comic books gathered dust as I got older but my love of drawing only grew, eventually leading me to a career in graphic design.

You may be wondering how Stan Lee and comic books tie into December’s theme of focus?

Comic books are a great example of the four-color printing process in its purest form; but it’s only through close inspection with a magnifying glass (called a loop in our field) that you’ll notice the color separation into halftone or Ben-Day dots. This printing method, that is so often associated with comic books, was first devised in the 1930s as a cost-effective way to create shading and secondary colors in mass-produced comics and newspapers.

In the 1960s, artist Roy Lichtenstein built his fame mimicking comic books of the time, meticulously hand-painting halftone dots at enormous scale. Still today, artists and designers alike lean on the halftone technique, whether to keep costs down when screen printing apparel and merchandise, or to give their artwork a nostalgic look.

I’m not the only one at Trampoline that has a penchant for pulp fiction. Sean has boxes full of comic books from his days as a collector, and looks for any excuse to incorporate comic book stylings into his work. Rob also jumps at the chance to use halftone dots to give a poster a touch of pulp fiction. It’s our way of harkening back to the heyday of pulp fiction, and the superheroes of design.

Sean’s pulp fiction parody can be seen here in an ad for Meyer & Fuller PLLC.


Rob’s rockin’ retro poster for Druthers Brewing Co. used halftone dots as a pattern to give it a pulp fiction effect.


Call us biased, but we think Megan Coloccia’s Batman and Robin are the cutest superheroes of all time.


For the meaning of life, and also for a new member to join the Trampoline family! Every person that we add to the mix here in the studio shapes who we are. We hire great people and see where they shine to mold positions around them.

A large group of co-workers have a planning meeting as they stand around table.

The morning huddle, going over deadlines and meetings.

Our current opening is for an enthusiastic, resourceful and creative Communications and Production Associate. This is a unique, exciting position that supplements both the account and creative teams in order to serve our clients. We like to immerse ourselves in the culture and voice of our clients in order to help best tell their stories, and we hope you do, too.

Six people stop and pose for a picture at Wildcat Mountain.

Reporting for duty mountainside at Wildcat Mountain.

One day you’ll be writing an Instagram post, the next, you’ll be researching vendors who can source merchandise, and the next, you’ll be meeting with a client to kick off a new project.

– Manage day-to-day client projects including but not limited to oversight of creative production, timelines, budgets, verbal and written correspondence with clients.

– Research and develop third-party quotes and coordinate production process with designers and vendors.

– Manage client advertising budgets, develop plans and place media on behalf of clients.

– Support Partners and Account team on large client accounts, projects, and/or business development activities, as needed.

– Effectively collaborate with internal creative teams, business partners, and vendors.

– Manage Trampoline and client social media strategy, content curation, ideation, and execution. Access and interpret analytics and report back to clients and Senior Leadership team.

This role requires strong:

  • Attention to details
  • Organization skills
  • Creative written and oral communication skills
  • Customer service (internal and external)
  • Basic math skills
Five co-workers and one teenager stand arms laced before a 5k race.

Rotary 5k in Tramp Track shirts.

Our team and culture are unique, and we’re looking for an extraordinary person to join us. You don’t have to know it all, but you do have to be willing to learn. A degree is preferred. This position is located at our Glens Falls office and is full-time with benefits.

An iPhone screen showing people in a brewing facility.

Could this be you?


If interested please send resumé, cover letter, and work samples to:





The strength of our work is our people

We’ve been talking about focus this month. It got me thinking about how and why we focus on certain things. There are areas where we are deliberate, methodical even and others where our focus on one thing makes us miss something else. It’s why I like the idea of having a word for a month, it’s a mechanism for revealing stuff we might otherwise wholly gloss over.

The last year or so we have talked a lot more about a process. Before we kick off a project, we gather background information and relevant context to make sure everyone understands the objective, budget, and timeline. We talk to the client to get a sense of their attitude and how to best arrange the team and process. When we get a quote on a print job we take into account paper stock, extras, pricing, and timing. The same attention to detail happens in the hiring process—what are this person’s strengths, how will they integrate into the current workflow, will they create new opportunities, and can we offer them something meaningful.

These are all great things to do, but something stopped me in my tracks about a month ago. I was walking to my computer, and I passed Staci’s desk. It’s beside a huge window, the sill of which is lined with photos of her family. Her desk always has some sort of snack. On this day, there was an avocado which reminded me of how during Staci’s pregnancy she sat next to Allison, who signed up for emails describing the approximate size of the baby on a weekly basis. One week he was the size of an avocado.


Work space with personal items, a baby bottle, documents, and food.

Her chair was empty as she leaned over a proof on the work table with a junior designer. I could hear her characteristically thoughtful feedback on the layout and the way she presents a balance of constructive criticism and praise. Her son Kaiser, who just turned one, was sitting in his stroller flirting with two or three Tramps.

I am guilty of not always remembering just how much Staci has going on, or John, or Megan, or Oliver. I looked at the bottle on her desk, the datebook open with a girls’ night scheduled as well as a chiropractor appointment. These things were alongside ad layouts with notes and her computer screen open to an InDesign file brought into focus how much each person has influencing their perspective. It’s easy to get distracted by the client, the work, and the push to get things done. Nothing happens without the person.

The holidays, in particular, can be a time when each day carries the weight of family obligations, poignant memories, and extra to-dos. I can appreciate the idea that personal issues aren’t for the workplace, but in so many ways we can’t separate a person and the rest of their life.

A mom holds her baby

I am grateful for the way that the people coming into Trampoline each day are unafraid to reveal their entire selves—dysfunction, delight, and massive distractions. When we are able to focus on lifting one another up, whether it’s creating a lactation room or giving advice on how to contest a traffic infraction, it strengthens our team and our process.

We’re planning a lunchtime visit to Mik and Milo, Friday we’ll be brewing a custom beer with Staci’s husband guiding us along with our friends at Mean Max, and on Fridays, we’ve started a tradition of walking down the block to take aerial yoga classes over the lunch hour. The work is essential, but it’s nothing without the people.


Seeing the People Behind the Project

I sat in the corner of the basement room on a cold, metal chair, surveying people. One by one, they stood to talk about the importance of the work they do. Their eyes lit up and their hands fluttered as they told stories of the people they help on a daily basis. It’s one of my favorite things about this job, watching people light up. Claire Murphy, Executive Director of L.E.A.P., talked about the children who participate in the Head Start program. Kim Cook, President and C.E.O. of Open Door Mission, emphasized the importance of meeting people where they are and helping them to learn the “rules” of entering the job force. Kim Sopczyk, Executive Director of Family Services, spoke about how someone came into her office that very morning, inquiring about where they could get a winter coat.


Sitting in that room among people who spend every day caring for others and trying to lift people up was humbling. I was there to document the event for L.E.A.P, but it became about more than a single day. I thought about my 10-month-old son who needs his first winter coat, and how expensive they are. Thankfully, the organizations we partner with can help people find what they need, and we can play a small part in helping them navigate their way there.

It’s easy to get stuck in your own world, but it’s those times when you learn about others’ stories that you realize how much more is wrapped up in the word community, and your gratitude multiplies.

We provide design assistance, help increase awareness and elevate the identity of programs, which can truly make an impact. But maybe the biggest outcome is sharing their stories after the work is done.

Two Tourism Excellence Awards & a Davey!

The New York State Tourism Industry Association has awarded Trampoline in two destination marketing categories.

GoNorth: The sights, shops, and stories of Northern New York won in the Public Relations category, and the Hunter Mountain: It Gets in Your Head campaign win in the Niche Marketing category.

The Go North campaign was the result of regional collaboration across communities and counties in the upstate region. The W!LD Center’s leadership (and grant-writing prowess) allowed for the inclusion of many cities and towns to benefit from tour visits. Businesses, Museums, and Destinations from Saratoga to Tupper Lake agreed to participate and extended special offers to tourists.

Hunter Mountain’s season campaign ran in the New York City Metro market as an effort to entice skiers away from Vermont resorts and into the Catskills. Hunter is the closest mountain to New York, and this campaign reminded skiers in the city just how nearby adventure is. Ticket sales improved 15% as print and digital ads made their way into the marketplace, supported by TV spots, social graphics, and print collateral.

The Hunter: It Gets in Your Head campaign was also awarded Best in Show at the American Advertising Federation’s ADDY Awards.

NYSTIA is organized for the purposes of bringing together New York State tourism industry interests to raise consumer awareness and appreciation of travel and vacation opportunities in New York State.

Trampoline’s Award-winning work shared the stage with other incredible campaigns for destinations throughout New York, including Binghamton’s BING concept, the Niagara Falls USA rebrand, and the Unexpected Buffalo, among others. Each winner was beautifully designed by organizations and creative agencies working to say how much We  New York.
The family of Mean Max craft beer cans and the silver Davey Award their label design won
A few days after the NYSTIA event we got the word that the Mean Max Brew Works crowler suite received a Silver Davey Award. Our partnership with Mean Max has been a labor of love and hops. Designing these, as well as yet-to-be-released barrel aged series in glass bottles, allows us to continue supporting this region. We’re also able to offer guests at the studio exceptionally fresh beer.

Design delivered from the 518

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