Svetlana Molodchenko’s illustrations give Three Rules Trappist beer an authentic look and feel that sets it apart

Garrick Webster speaks with Svetlana Molodchenko on her commission with Tête de la Course.

Made by Cistercian monks according to a strict code, Trappist beers come from an ancient tradition that values quiet, craftsmanship and quality. When the independent branding agency Tête de la Course was asked to create the packaging for a special, limited-edition beer made in collaboration by three monasteries, creative director Ruud Cuijpers wanted to reflect the rich narrative behind the beer, inform drinkers what sets Trappist ales apart, and evoke the sense of allure and luxury this premium product deserves. To create the logo, label artwork and illustrations, he called on the services of Svetlana Molodchenko – an artist renowned for her beautiful, meticulously-drawn ornamental style.

Below, Svetlana reveals more about the project, how the illustrated elements evolved, the meaning behind them and the challenges along the way.

When and how did this job come about?

Late last year I received an email from Ruud Cuijpers, the creative director of Tête de la Course in Eindhoven, Holland. He was working on the packaging for a limited-edition beer brand with monastic roots and was looking for an illustrator to create key visuals. So, we teamed up on this really cool project.

What was it that interested you about the project?

I’m always fascinated when something is made by hand, when traditions are preserved and when the environment is taken care of. And here you can find all of that. In addition, my passion is illumination and old handwritten books, which themselves were once made in monasteries. 

This special edition dubbel is made by three Trappist breweries: La Trappe at Koningshoeven Abbey in the Netherlands, Tynt Meadow at Mount St Bernard Abbey in Leicestershire and Zundert at Maria Toevlucht Abbey, also in the Netherlands. It also pays homage to the three rules of authentic Trappist brewing: it must be made within the walls of the abbey or in its immediate vicinity; it is made by monks or under their supervision; and the proceeds are used to meet the needs of the monastic community or for charity. In this case, sales go to Trees for All, which is on a mission to plant 14,000 trees.

What was the brief?

My task was to draw the logo – a richly decorated number three; the label art – a hexagon divided into three illustrations; and a triptych of illustrations, one for each rule of Trappist beer making.

The basis for the visual concept was a hexagon, so the logo is the number three in a hexagon, the label illustrations are within the bounds of a hexagon, and hexagons appear in the triptych illustrations and other elements of the design. I worked in correspondence with Ruud Cuijpers, who communicated directly with the Trappists.

I was given a fairly detailed brief, with a description of what should be in the illustrations, but as work progressed it changed and new elements were added. For example, the instruction for the second rule asked me to depict "something with a monk and beer." I drew a monk holding a glass of beer in his hand, but this illustration was rejected because the monks shouldn’t drink beer! Instead, I decided to show the production process, so I researched beer production and what it looks like. Now the image shows a monk tending to a fermentation vat.

There are lots of smaller decorative images throughout the artworks. What were they and what did they represent?

As well as illustrating the rules, the clients wanted the artwork to contain product ingredients and symbols in the artwork that are associated with each individual monastery. So, as well as rule one – production is carried within the abbey walls – the first illustration relates to La Trappe, which is symbolised by a lamb, ornamented with hop vines, and shows a round of cheese, a candle and a monk with a finger to his lips for silence. Rule two – the beer is made by monks – also connects with Tynt Meadow, with its gothic windows, oak leaves and acorns, a dove, honey and a bee, which represents biodiversity. Finally, rule three involves giving to charity, and the Zundert brewery, the symbol for which is a lapwing. There are hands holding the world, bread, a cross and wild gale flowers.

What were some of the creative decisions made along the way?

The very first logo I drew used the Arabic number ‘3’, richly ornamented with Renaissance patterning, but I kept experimenting to see what customers might like. It evolved to become a Roman numeral three.

Then there were several options for the label. At first, the idea was to draw a hexagonal Gothic window with three large slits for illustrations – as if it were a view through the window. Gradually, this transformed into a decorative trefoil window. In reality, Gothic buildings did have trefoil windows, so this remained authentic. The original border drawn for the label was used for the hexagons in the triptych instead, where it reads better.

The ornaments drawn for each individual monastery were worked into the patterned areas of the label artwork, and into the triptych illustrations.

What kind of look and feel were you going for?

I wanted to achieve the feeling of the main window at a Gothic cathedral with carved masonry and complex décor – like you’re looking through this window and seeing something. I looked at a huge number of images of Gothic cathedrals and other buildings. And of course, I was inspired by medieval manuscripts with rich decor, into which images of a wide variety of creatures were woven – birds, animals and so on.

Where did the idea to print it in gold come from?

Initially, the illustrations were meant to be in color, but they were hoping to print them onto the glass. This was concerning, so I asked for some print samples and details about the technical requirements. We decided to print in gold on the dark glass, which solved the problem and enabled us to print in higher detail.

The symmetrical hops, oak and wild gale patterns are very intricate. How did you ensure the best balance between positive and negative space?

There’s no single rule to achieving this, and practice is important. First, I draw the general pattern and make sure it is harmonious and balanced. It’s drawn on white paper which I can scan. Then I remove the white background and replace it with a dark one, and can immediately see where there are mistakes in the composition – where to add and remove items. When I place an ornament, such as a lamb, I’ll remove some of the leaves and branches to create the space, then add leaves to the stems above and below the item so that it fits in naturally.

What tools and media do you use?

Paper, pencil, fine liners, scanner, computer, Photoshop. I make quick sketches with a pencil. Then I look for references images and make the drawings more accurate. For example, I didn’t know what beer production vats looked like, so I found lots of images to understand the details. Then I do the final drawing. Here, certain elements were used for both the label and the triptych. So, I drew the illustrations, additional elements and decor separately, and then assembled the composition on the computer.

How long did it all take?

From the initial email to release, almost a year, but the work itself took less time. The communication, approvals and agreement among the clients took a while.

What was your favorite part of the project?

My favorite thing is creating patterns. It’s like meditation.

What’s the response been like?

I’ve read reviews on social networks and they are all positive. They say the beer is tasty, but first of all people pay attention to the design. The beer is nearly sold out already.

Read more on the project here.

design
garrick webster
beer
label
creativity
insideout
svetlana molodchenko
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