Cocktail poster

Sign up for Cocktail Conference news and updates.

Planning is well under way for the 7th Annual San Antonio Cocktail Conference, and this year there’s more than just the ‘craft of the cocktail’! The conference is hosting its first official Poster Contest.

San Antonio and area artists are invited to participate in this competition to create a piece that represents the unique atmosphere and imagery of San Antonio Cocktail Conference – the cocktail scene, the art of the craft, the charitable support of children’s causes from the conference - while reflecting the sense of community and spirit of our Alamo City.

Deadline for submission is 5:00 p.m. Monday, October 2nd, 2017. Entries must be submitted before the deadline to San Antonio Cocktail Conference, 219 E. Houston St., Suite 250, San Antonio, 78205. Office hours are Monday through Friday, 9 a.m. to 5 p.m.

Five semifinalists will be selected before an overall winner is selected. The winning artist will receive $1,000, 2 multi-event access passes to SACC 2018, and will be honored at the San Antonio Cocktail Conference 2017 Poster Unveiling, and be recognized in SACC media outreach and promotions. Second and third place winners will be awarded 2 passes to Opening Night at SACC 2018.

The winning artist must be available for poster signing, press interviews and public appearances Wednesday, November 1, 2017 and January 10-14, 2018 (SA Cocktail Conference dates).

RULES & INFORMATION

— You must be 21 years or older.

— All artists of traditional media (oil/acrylic/tempera, watercolors, illustrations, prints) and of computer graphics are invited to participate in this competition!

— All submissions should represent the unique atmosphere and imagery of San Antonio Cocktail Conference – possibly including the cocktail scene, the art of the craft, the charitable support of children’s causes from the conference, and/or the sense of community and spirit of our Alamo City.

— Each entry must be a completely original concept not used in other posters, promotions or events.

— Entries should contain no fluorescent or metallic colors.

— One artist per entry. No collaborations.

— The poster design and elements of it may be used in official SACC merchandise.

— Artists are encouraged to keep in mind the merchandising flexibility of the content of their original artwork.

— Submit your work in a vertical poster format measuring 24” wide by 36” high.

— Entries must be mounted. Mounting can be stretched canvas, illustration board, foam core, etc.

— Do not sign or otherwise identify yourself on the front of the entry. Secure your contact information (name, address, phone number, EMAIL ADDRESS) to the back of the entry.

— Non-winning entries will be returned to artists but may not be subsequently sold with any SACC logo or identification incorporated in the artwork. Entries not selected as a finalist must be picked up by Thursday, October 26th 2017, or they will be discarded.

— Five semifinalists will be selected before an overall winner is selected. Judges will consider concept, artistic imagery, visual presentation and merchandising adaptation.

— San Antonio Cocktail Conference may ask the winning artist to make changes to the artwork before the poster is printed.

— San Antonio Cocktail Conference is not responsible for lost or damaged entries.

— San Antonio Cocktail Conference will retain ownership and full copyright of the winning poster and its reproductions. SACC may adapt elements of the poster for use on other official SACC collectibles. SACC will retain ownership of the original poster artwork and may reproduce, in whole or in part, the artwork with no additional consideration to the artist. Any use or adaptation of the artwork is within the sole discretion of SACC.

— Winner must sign a confidentiality agreement.

For further information about the San Antonio Cocktail Conference 2018 Poster Contest, please send an e-mail to info@sacocktails.org.

2017 San Antonio Cocktail Conference All rights reserved

Cocktail poster

Sign up for Cocktail Conference news and updates.

Planning is well under way for the 7th Annual San Antonio Cocktail Conference, and this year there’s more than just the ‘craft of the cocktail’! The conference is hosting its first official Poster Contest.

San Antonio and area artists are invited to participate in this competition to create a piece that represents the unique atmosphere and imagery of San Antonio Cocktail Conference – the cocktail scene, the art of the craft, the charitable support of children’s causes from the conference - while reflecting the sense of community and spirit of our Alamo City.

Deadline for submission is 5:00 p.m. Monday, October 2nd, 2017. Entries must be submitted before the deadline to San Antonio Cocktail Conference, 219 E. Houston St., Suite 250, San Antonio, 78205. Office hours are Monday through Friday, 9 a.m. to 5 p.m.

Five semifinalists will be selected before an overall winner is selected. The winning artist will receive $1,000, 2 multi-event access passes to SACC 2018, and will be honored at the San Antonio Cocktail Conference 2017 Poster Unveiling, and be recognized in SACC media outreach and promotions. Second and third place winners will be awarded 2 passes to Opening Night at SACC 2018.

The winning artist must be available for poster signing, press interviews and public appearances Wednesday, November 1, 2017 and January 10-14, 2018 (SA Cocktail Conference dates).

RULES & INFORMATION

— You must be 21 years or older.

— All artists of traditional media (oil/acrylic/tempera, watercolors, illustrations, prints) and of computer graphics are invited to participate in this competition!

— All submissions should represent the unique atmosphere and imagery of San Antonio Cocktail Conference – possibly including the cocktail scene, the art of the craft, the charitable support of children’s causes from the conference, and/or the sense of community and spirit of our Alamo City.

— Each entry must be a completely original concept not used in other posters, promotions or events.

— Entries should contain no fluorescent or metallic colors.

— One artist per entry. No collaborations.

— The poster design and elements of it may be used in official SACC merchandise.

— Artists are encouraged to keep in mind the merchandising flexibility of the content of their original artwork.

— Submit your work in a vertical poster format measuring 24” wide by 36” high.

— Entries must be mounted. Mounting can be stretched canvas, illustration board, foam core, etc.

— Do not sign or otherwise identify yourself on the front of the entry. Secure your contact information (name, address, phone number, EMAIL ADDRESS) to the back of the entry.

— Non-winning entries will be returned to artists but may not be subsequently sold with any SACC logo or identification incorporated in the artwork. Entries not selected as a finalist must be picked up by Thursday, October 26th 2017, or they will be discarded.

— Five semifinalists will be selected before an overall winner is selected. Judges will consider concept, artistic imagery, visual presentation and merchandising adaptation.

— San Antonio Cocktail Conference may ask the winning artist to make changes to the artwork before the poster is printed.

— San Antonio Cocktail Conference is not responsible for lost or damaged entries.

— San Antonio Cocktail Conference will retain ownership and full copyright of the winning poster and its reproductions. SACC may adapt elements of the poster for use on other official SACC collectibles. SACC will retain ownership of the original poster artwork and may reproduce, in whole or in part, the artwork with no additional consideration to the artist. Any use or adaptation of the artwork is within the sole discretion of SACC.

— Winner must sign a confidentiality agreement.

For further information about the San Antonio Cocktail Conference 2018 Poster Contest, please send an e-mail to info@sacocktails.org.

2017 San Antonio Cocktail Conference All rights reserved

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Meet the 2016 Tales Poster — and the Talented Illustrator Behind It

Born in New Orleans, Robert Rodriguez was living and working in California when he discovered that Tales of the Cocktail was taking place in his hometown. His nostalgic aesthetic is a perfect fit for the cocktail culture of New Orleans and the retro feel of Tales. Some of Rodriguez' favorite artists include J.C. Leyendecker, Caravaggio, Gustav Klimt and J.W. Waterhouse, to name a few.

Like any good teacher, he learned from his students. After seeing some of the work being done by his students in class at Art Center College of Design in Pasadena, CA, Rodriguez switched from traditional techniques to creating art digitally, which sped up work production. But every chance he gets, Rodriguez returns to the easel.

And while Tales of the Cocktail calls in attendees from all over the world, it called this native son to return home. We caught up with Rodriguez to ask him what drew him to the cocktail community, and how he developed the vintage style that's graced iconic brands from Quaker Oats to Lavazza:

You went to art school in Los Angeles - tell me about your connections to California and New Orleans.

I was born here and went through high school in New Orleans. I went to junior high school for a couple of years in California, and I really liked it because the school I went to in California, it was all brand new. It opened the year that I started. In New Orleans, it seems nothing is brand new. I had never been to a school before that didn’t have exposed plumbing.

Everything was new in California and I liked it and I couldn’t wait to get back there. I was accepted to four different art schools around the country, but I really couldn’t wait to get back to California.

Now I love New Orleans because everything is old.

Your posters that I have seen and enjoyed invoke a vintage spirit. Can you tell us more about your aesthetic?

I like to jump around a bit, but mainly I do mostly nostalgic kinds of things. I try not to confuse people into thinking they are truly vintage and I always add a modern sensibility. One time I did try and make it look completely vintage and a guy who collected posters by the French artist Jules Cheret thought it was one of his.

Robert Rodriguez's posters for Tales of the Cocktail in 2009, 2010 and 2011.

As an artist you want to try and be original and your posters have a very unique style. I thought to myself, “How lucky was Tales of the Cocktail to find you!” But then I read that you actually found the festival and pitched the poster idea to Ann Tunnerman.

It was funny, I was working for a guy who was a liquor distributor designing labels and doing posters. I was right in the middle of a project and he said, “I won’t be able to talk to you for a few weeks, I’m heading to New Orleans for Tales of the Cocktail.” This was when I was in California still and I said, “What is Tales of the Cocktail? I’m from New Orleans!” I hadn’t heard of the festival yet. When I looked it up, they didn’t have a proper poster yet — I saw a really cool blue print of a Sazerac, but no real poster. So I figured I’d call up Ann and see if she would be open to me designing a poster in exchange for being able to sit and sell them during the festival. So that’s what I do — I’m posted up in the Hotel Montelone lobby right on the way to the bathroom, so we get a lot of traffic.

In New Orleans and Louisiana, we love to collect festival posters.

I think it has something to do with Jazz Fest, certainly. It’s such a New Orleans thing. Tales of the Cocktail is much more international. I see familiar faces, but also new faces all the time.

I noticed that the poster this year revolved around Andrew Jackson’s statue in Jackson Square. Was that because of the monument controversy in New Orleans?

No, not at all. I really dislike the monument controversy. I grew up with these statues. I grew up in the Lower Garden District, only 10 blocks from Lee Circle, so these statues are very identifiable to me.

I wanted to have something on the poster that was instantly identifiable with New Orleans, which I think - of course - the Andrew Jackson statue is very iconic. But I also picked that location because Jackson is on a horse that is rearing up and the woman in the foreground is on a mule echoing the same pose.

Ah, the mule connection for the Moscow Mule! And the mules line up in front of Jackson Square for the carriage rides.

Yes, this year I read the direction for the Moscow Mule contest and the bartenders can invent their own version, so it doesn’t have to have vodka in it. The only requirement seems to be ginger. For this poster I was doing an art deco, Russian constructivist theme — more the Russian side because of the Moscow Mule. There are also some branded liquor bottles in there because that’s what helps with the printing. It takes the fear away. That way if I didn’t sell anything I’d at least pay for my poster.

One year I’d love to get all the bottles in the poster of alcohols made locally, like Old New Orleans Rum, which is made by the artist James Michalopoulos. I’d love to meet him. I love his work — he paints those warped New Orleans houses which seem to inspire a lot of people.

Do people try and imitate your work?

You know, not really. And when it’s happened, people have done it so badly that I didn’t even notice. As an illustrator I try to be flexible and not stick to one particular look. I just had a gallery show in Laguna Beach, California, which was about how my style has changed over the years. Somebody came in and said, “Oh, are you one of the artists?” and I said, “I’m all of the artists!”

But a large part of your work is commissioned?

Yes, that’s why Tales of the Cocktail is so much fun. Ann simply tells me the theme and the drink and it’s up to me what I want to do. I show it to the Tales team, of course, but they don’t say, “Change this,” or “Change that,” which that’s my regular work, everyone is changing everything. I don’t have to answer to an art director.

Like right now I’m waiting to hear back from Quaker Oats. I’ve been helping them updating their logo for a while. They first did that logo in 1960, it was the same artist that did the Coca-Cola Santa Clauses. They updated the logo in the 1980s. And then I updated it in the mid-1990s and basically just made him happier, a little thinner and more sun-tanned. Now we’ve recently made him younger again — he looks about 35 — and much thinner.

I’ve done postage stamps: Cinco de Mayo, Cesar Chavez, a series of 12 stamps that were called “Celebrate the Century,” and I did a series of four that were “Cowboys of the Silver Screen” — Roy Rogers and such.

The Post Office finds you. In fact, they don’t ever look at artist submissions, so I was real lucky that way because it was so much fun to do those.

When and where will you be at the Monteleone if someone wants to get the official 2016 Tales of the Cocktail poster?

I’m there from 9:30 in the morning to 5:30 or 6 pm every day. We are in the lobby, like I said on the way to the bathroom so we have lots of people walking by and checking us out. My wife won’t be there this year because she’s on an extended trip to England, but my son will be there this year helping out. I’m so grateful for the help because otherwise I wouldn’t be able to leave. I have so much fun visiting with the Tales of the Cocktail crowd.

These Minimalist Cocktail Posters Are Giant Flashcards for Aspiring Bartenders

Courtesy of Nick Barclay

Sydney-based British designer Nick Barclay has created a clever set of minimalist posters of classic cocktails that are beautiful pieces of wall art that also function as cheat sheets for aspiring mixologists.

“There is a big bar/cocktail scene in Sydney, so I was introduced to the Negroni when I moved here six years ago, and that really sparked my interest in cocktails,” Barclay told me in an email.

Courtesy of Nick Barclay

The idea to translate that interest in mixed drinks into a series of posters came from “thinking about something that could be broken down and still look artistic while being informative,” he said. “Cocktails seemed to fit the bill because of the ingredients, the colors, and the glassware. Everyone loves cocktails, but they don't necessarily know what goes into them, so I thought these would be a great way of having the best of both worlds.”

Barclay said he asked a friend who owns Australian Bartender magazine to pick 10 classic cocktails for the series, then studied the ingredients of each one and worked from photos of the cocktails. “I stylize the glass and use the blocks of color to represent the color of the cocktail and the proportion of the ingredients in it,” Barclay said.

Courtesy of Nick Barclay

Courtesy of Nick Barclay

Courtesy of Nick Barclay

Courtesy of Nick Barclay

Courtesy of Nick Barclay

Courtesy of Nick Barclay

Courtesy of Nick Barclay

Courtesy of Nick Barclay

The series is available for purchase here.

Kristin Hohenadel's writing on design has appeared in publications including the New York Times, Fast Company, Vogue, Elle Decor, Lonny, and Apartment Therapy.

Slate is published by The Slate Group, a Graham Holdings Company. All contents © 2017 The Slate Group LLC. All rights reserved.

These Minimalist Cocktail Posters Are Giant Flashcards for Aspiring Bartenders

Courtesy of Nick Barclay

Sydney-based British designer Nick Barclay has created a clever set of minimalist posters of classic cocktails that are beautiful pieces of wall art that also function as cheat sheets for aspiring mixologists.

“There is a big bar/cocktail scene in Sydney, so I was introduced to the Negroni when I moved here six years ago, and that really sparked my interest in cocktails,” Barclay told me in an email.

Courtesy of Nick Barclay

The idea to translate that interest in mixed drinks into a series of posters came from “thinking about something that could be broken down and still look artistic while being informative,” he said. “Cocktails seemed to fit the bill because of the ingredients, the colors, and the glassware. Everyone loves cocktails, but they don't necessarily know what goes into them, so I thought these would be a great way of having the best of both worlds.”

Barclay said he asked a friend who owns Australian Bartender magazine to pick 10 classic cocktails for the series, then studied the ingredients of each one and worked from photos of the cocktails. “I stylize the glass and use the blocks of color to represent the color of the cocktail and the proportion of the ingredients in it,” Barclay said.

Courtesy of Nick Barclay

Courtesy of Nick Barclay

Courtesy of Nick Barclay

Courtesy of Nick Barclay

Courtesy of Nick Barclay

Courtesy of Nick Barclay

Courtesy of Nick Barclay

Courtesy of Nick Barclay

The series is available for purchase here.

Kristin Hohenadel's writing on design has appeared in publications including the New York Times, Fast Company, Vogue, Elle Decor, Lonny, and Apartment Therapy.

Slate is published by The Slate Group, a Graham Holdings Company. All contents © 2017 The Slate Group LLC. All rights reserved.

Tales of the Cocktail poster artist Robert Rodriguez's trip down memory lane

Gallery: Robert Rodriguez Posters

on July 10, 2015 at 6:00 AM, updated July 11, 2015 at 5:06 PM

UPDATE: Check out the video interview below and, at the bottom of the page, the full interview as a podcast.

He's designed DVD covers for movies ("Hud"), for Broadway productions ("Lend Me a Tenor"), HBO productions ("Boardwalk Empire"), book covers and the circus, and has even created updates of age-old grocery-store products (think Quaker Oats).

And when you look back at those titles, and consider the era those images evoke, Robert Rodriguez'a latest design for the upcoming Tales of the Cocktail (July 15-19) should come as no surprise. It's of a woman tucked inside a martini glass -- a redhead with a vague resemblance to '50s Hollywood star Susan Hayward, all done up in red. She's in a corset, legs barely covered by black panty hose and a garter, silk gloves going almost to her shoulders, and matching high heels. She could easily be pulled out of that martini and plopped right onto to the stage of old Bourbon Street burlesque hall the Sho Bar as a dancer.

"As an illustrator, I get called to do things, and because my work is kind of nostalgic looking, I love different periods of time," said the 68-year-old New Orleanian, who has been designing the Tales of the Cocktail posters ever since he pitched the idea seven years ago to organizer Ann Tuennerman. "I don't like being tied down to one particular time period. It's sort of immersing myself in the time I'm trying to do. Friends tell me the work is still identifiable as mine.

Each year they give him a theme, and this year's was "The Spirits Are Calling." Rodriguez figured this is one way to make a cocktail spirited.

"I'd always wanted to do a pin-up girl," he said of the inspiration for the Tales poster. "I think this one references the '40s and '50s and stuff like that, and partially in the style that I wanted to paint it, but also it does feel modern. I was thinking about (burlesque star) Dita von Tease and the different burlesque things going on these days. The bartenders that come in for Tales of the Cocktail, they all seem to be . not necessarily about burlesque, but they're all in that same kind of vintage mindset."

He's never disappointed since returning from Los Angeles to be a more full-time New Orleans resident, and TOTC poster artist, especially after his mother passed away a few years ago.

"Robert has an innate ability to capture the spirit of Tales of the Cocktail," Tuennerman said. "This year's edition has a joie de vivre that's evident at every one of our events while evoking the elegant seduction of a perfectly crafted cocktail. Robert has done it once again."

Rodriguez's body of work practically spans the spectrum of American popular culture, and is steeped in iconography. It's nostalgic and current all at once. You can see it in his recent version of the familiar Quaker Oats figure -- "We want him to be thinner and healthier and happier than he used to be," the company told him -- or even in the Art Deco feel of the Broadway poster for "Lend Me a Tenor" and a theatrical production of "Much Ado About Nothing." Or, more recently, the commemorative series of postage stamps -- "Cowboys of the Silver Screen" -- he produced for the U.S. Postal Service, resurrecting the Wild West imagery of Gene Autry, Roy Rogers, Tom Mix and William S. Hart.

Rodriguez moves seamlessly through these different worlds of pop culture, and perhaps can trace that sensibility back to when he attended Chouinard Art Institute in Los Angeles. After being inspired by one teacher encouraging a more avant-garde approach, he found himself struggling in a class the next semester in which the teacher hued to a more traditional style. Next thing he knew, Rodriguez found himself skipping the class and hanging out in the library, "looking at old art directors' annuals from the 20s, looking at old books from the '20s and '30s, and I just fell in love with Art Nouveau and Art Deco."

Maybe that sensibility took hold much earlier. Rodriguez's stepfather, John Murray, was a lighting designer who worked in movies a lot with his old Tulane University roommate, Ed Nelson. It was Nelson who, despite being famous to many for his turn on TV's "Peyton Place," got his start in Roger Corman's infamous exploitation movies of the '50s and '60s. Murray followed Nelson out to Hollywood, where Rodriguez spent a few of his middle-school years.

(He remembers being home for a movie premiere party for "Bayou," later retitled "Poor White Trash," at the Saenger complete with Cadillac convertibles. His parents wound up riding in one.)

This would be in the late 1950s, and Rodriguez remembers as a fifth-grader hanging out on a movie set with his stepfather. He can't quite remember if it was an Ed Wood movie, but by all indications it was: to one side stood a massive bald man who bore a striking resemblance to retired pro wrestler Tor Johnson, while nearby stood a curvy woman with long black hair and a black dress who was a dead ringer for Vampira.

"I remember being fascinated with the wrestler, and him getting hit in the head with an axe," said Rodriguez, an Alcee Fortier High grad.

Could Rodriguez have been on the set of "Plan 9 from Outer Space"?

"I still remember the Hershey's syrup," Rodriguez recalled, a reference to the schlock movie director Wood's use of chocolate syrup for blood in his black-and-white movies.

Rodriguez experienced the flashback when, in 1994, he did a mock-up for a movie poster for Tim Burton's tongue-in-cheek biopic "Ed Wood." It was never used, which is common for commercial artists.

"Ever since that movie came out I thought, I know that had to have been an Ed Wood movie," he said, although he noted, "I didn't see anyone dressed in angora sweaters."

Rodriguez will be selling copies of his poster at Tales of the Cocktail inside the Hotel Monteleone.

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CRAZY COCKTAILS Poster - Bar Drinks Full Size 24x36

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Skratkz 101 COCKTAILS POSTER A1 with Recipes SCRATCH OFF Cocktails You Drink

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Here's the Real Story Behind That Awesome U.S. Forest Service Cocktail Chart

How exactly did a cocktail chart for the U.S. Forest Service make its way into the National Archives? Esquire tracked down the story behind the boozy blueprints.

Earlier this week, venerable miscellany repository Kottke stumbled across a curious item in a section of the National Archives Catalog pertaining to the U.S. Forest Service: a precisely rendered and impressively illustrated 1974 document, titled Cocktail Construction Chart that meticulously detailed how to serve up various mixed drinks. Popular Mechanics picked up on Kottke's discovery, handily re-constituting the single-page blueprint into a tutorial slideshow, and dozens of other blogs and Tumblrs also aggregated the WTF-worthy bit of government news. But, given that cocktail-making hardly seems relevant to surveying land or conducting ecological research, no one seemed to be answering the important questions: How and why did the U.S. Forest Service officially commission and publish such a document? So, Esquire phoned up the agency to find out how this cool, but bizarre, part of our nation's history came to be.

"We're surprised it even made it into the Archives," admitted Larry Chambers, the National Press Officer for the U.S. Forest Service, explaining that, after 1946, the Archives began to be more vigilant about what passed muster for preservation. "This is the sort of thing our historian expected should have been tossed in the can." He guessed that someone had decided that the chart was "too neat to throw away", and mused that he and his colleagues are "all wondering if this is gonna show up as a poster on college dorms next fall."

If it does, royalties might be due to the family of late Forest Service Region 8 Engineer Cleve "Red" Ketcham, who passed away in 2005 but has since been commemorated in theNational Museum of Forest Service History. It's Ketcham's signature scribbled in the center of the chart, and according to Sharon Phillips, a longtime Program Management Analyst for Region 8 (which covers Virginia, Georgia, Florida, Oklahoma and Puerto Rico, though Ketcham worked out of its Atlanta office), who conferred with her engineering department, there's little doubt Ketcham concocted the chart in question. "They're assuming he's the one, because the drawing has a date of 1974, and he was working our office from 1974-1980," she said. And in case there'd be any curiosity as to whether someone else composed the chart and Ketcham merely signed off on it for disbursement, Phillips clarified that, "He's the author of the chart. I wouldn't say he passed it along to the staff, because at that time, he probably did that as maybe a joke, something he did for fun. It probably got mixed up with some legitimate stuff and ended up in the Archives."

That squares with Red's son Ray's recollections of his dad (and accounts for the signatures in the bottom right corner of the chart from supposed cocktail inspectors "I.P. Freely" and "Ima Sot"). Ray remembered Red as a good-humored man who considered the Forest Service to be family. (In fact, Red was even on-site when soldiers recovered the eventual "living symbol" of Smokey the Bear from a disastrous 1950 wildfire in New Mexico, and Ray recalls being given an original Smokey stuffed animal from the then-head of the Forest Service.) "I'm pretty sure it was an in-house joke with the guys [he worked] with," said Ray, a documentarian and photographer based in Gardiner, WA, adding that his dad was a superior draftsman of land-surveying manuals. "My father had one of them funny, cowboy senses of humor. The only thing Dad was interested in doing was making life better for folks. I would not be a bit surprised, if you really got to looking, if you found a whole bunch more of those in-house jokes that he may or may not have had something to do with."

The greatest irony in all this? Ketcham rarely ever threw one back himself. "The funny thing is, I don't remember him drinking much," said Ray, with a laugh. "He'd have a Scotch every now and then when they had parties. They worked hard and they hung out together."

Cocktail Menu Advertisement Poster with Martini

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Cocktail menu advertisement poster with closeup of martini blue lagoon, vector illustration of drinks ingredients, types and price of cocktails list

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