Art is everywhere. It’s on merchandise, in public places, and on packaging. But we often relate the art more to the product, and not the artist who created it. Do you own a piece of Grateful Dead merchandise? Have you seen a Bob Marley tapestry? Here’s an easy one, have you ever bought a six-pack of Terrapin beer? If you said yes to one of those questions, then you have experienced first-hand just some incredible work of Chris Pinkerton.

Chris Pinkerton’s studio.



Chris Pinkerton is the founder of Mackerel Graphics and has an extensive list of clients. Along with the Grateful Dead & Bob Marley, Pinkerton has done work for Pink Floyd, Jimmy Hendrix, Disney, California State Parks, and the Library of Congress just to name a few. But Pinkerton’s success does not come from the prominence of his clients, but rather what he has done for them. This range of long-term returning clients not only appreciate the artistic designs he produces but also the thoughtful intention he imposes within the work.


Licensed artwork that Chris Pinkerton produced for the music industry.



Pinkerton grew up in York, Maine developing an interest in art at a very young age. His mother was supportive of his talent, encouraging him to draw picture books in which she would write the stories as Chris told it to her.  He also led a pretty active youth, with interests in the outdoors both surfing and cycling. In college, he was the head of a cycling team and was even accepted to go into the Olympic Training Camp, but he ultimately decided he wanted to pursue a different career. Originally going to college to become an architect, it was there that Pinkerton realized his love for drawing and decided to become an illustrator. But Pinkerton wasn’t interested in just becoming an artist. He was interested in everything that surrounds the art, with its intended goal of reaching the masses. Most people are either left brained or right brained. In this rare instance, Chris Pinkerton is both.

One of the story books that Chris Pinkerton illustrated in pre-school while his mother wrote the text.


After college, he ran into some good fortune landing a job with a company called Liquid Blue. It was there he began designing art for the Grateful Dead.  Album art, tapestries, plushies, Pinkerton worked on just about everything you can imagine. But when he first came on, all the Grateful Dead art being produced was very male-centric. He and his colleagues at Liquid Blue agreed they were missing out on an entire demographic and worked together to introduce a style that would reach a wider audience. “Developing for a female marketplace does not mean making something feminine.” Says Pinkerton. “It means creating a dual aesthetic.” He helped expand the bands reach by creating a style that was more inclusive to all demographics, inadvertently developing some of the iconic imagery the Grateful Dead is known for today.


RIGHT: All Access laminate passes that Pinkerton used to go backstage to discuss art with the band and management.
MIDDLE: Pinkerton’s artwork seen on stage of a Dead Concert.
LEFT: A mandala that Pinkerton produced for The Grateful Dead.



Pinkerton quickly worked his way up to the top and became the head of the art department within a year at Liquid Blue. While working with the Grateful Dead, he met a freelance artist by the name of Richard Biffle. The two hit it off, and due to mutual admiration became great friends and colleagues. Pinkerton and Biffle would work together on The Grateful Dead as well as several other projects over the years. In 2003, Richard Biffle was attending Bonnaroo when he met someone looking for an artist. Coincidentally, he was looking for someone who could mimic the art style of the Grateful Dead for a startup company he was co-founding. That man was Spike Buckowski, and that company was Terrapin Beer Co. While Biffle was capable of producing the art, he needed someone who had the artistic and technical mind to help make the illustrations print ready. But more importantly, Biffle wanted someone he could trust. So, he called Pinkerton.


When it comes to designing labels, most breweries hire an artist to produce the art and then have a creative department format the work for packaging. That’s how Biffle and Pinkerton’s relationship was when it came to working for Terrapin. Biffle would produce the art, and Pinkerton would handle the label design to make it market ready. But the big difference is, Pinkerton is just as skilled as an artist as Biffle. While Pinkerton certainly plays the role of a Graphics Designer, taking a product and formatting it for packaging, he has developed many original labels for the company as well. Pinkerton’s favorite work is the Krunkles series. Ranging from the sketches of the crazy Captain himself on Captain Krunkles, and the intricate mandalas as seen on Luau Krunkles. Biffle’s signature for Terrapin is his turtle, seen canoeing on Golden and climbing mountains on RecreationAle.

RIGHT: Luau packaging.
MIDDLE: Captain Krunkles label artwork.
LEFT: Mosaic can artwork.

Chris Pinkerton and Richard Biffle started out producing artwork for the Grateful Dead. Along the way, they ended up working with a company founded on the very artwork they helped produce. The two still create labels and packaging for Terrapin to this day. So next time you are drinking a Terrapin beer, take a look on the side of the can. It’s guaranteed that you will find a familiar signature: Chris Pinkerton, or Richard Biffle.


Chris Pinkerton and his family.

If you are interested in more information about Chris Pinkerton or his work, visit his website Mackerel Graphics.