1. Inspiration from Restaurant Graphics by Grant Gibson

    "Owned and designed by New York practice AvroKO, there’s more than a touch of the municipal about PUBLIC. In the interiors this manifests itself in the bank of mailboxes that line the entry hall but, in many respects, it’s the graphic design that gives the clearest indication of the thinking behind the scheme. “Everything stemmed from the food,” says AvroKO partner William Harris. “The cuisine is really first for us whenever we do a restaurant design, and it had a very global approach. It was eclectic—hence we started to consider the idea of a global community, which in turn led us the the global public, and then just ‘public.’”

    "Coast, one of the clutch of upmarket restaurants that occupy Sydney’s increasingly buzzing harbours, is another example of how a graphic designer can profoundly influence an interior—in this case, with a huge (and definitely three-dimensional) intervention. 

    Frost Design’s brief was to create something quintessentially about the Sydney coast without relying on the usual cliches. To meet this challenge, the practice came up with the idea of creating an actual coastline and suspending it from the ceiling. This dramatic overhead installation of Sydney’s coast stretches the length of the restaurant and was constructed from translucent yellow acrylic, then down-lit with LEDs.”

    "Part of the Carlton Hotel on Madison Avenue, which was originally designed by Harry Allen Jacobs in 1904 and more recently restored by David Rockwell, New York’s Country serves contemporary dishes featuring locally grown and organic vegetables. Owned by chef Geoffrey Zakarian, its graphics come courtesy of Mucca Design

    'The client didn't really have a clear idea in mind,' recalls the project's art director, Andrea Brown. 'He wanted something sophisticated but not too serious—something that had an edge to it, but not too much. The other thing the owner wanted to do was use the letter “C” as in “Country,” but he wanted something sort of subtle.' Mucca's solution was to come up with different variations around the all-important letter 'C.' 'We experimented with a few “Cs” and we thought it would be interesting to use them differently each time,' says Brown. 'Also, we didn't want it to be from any specific time period. We thought it would be interesting to combine and overprint them. It just made it a little more ambiguous.”

    "Owned by Faith and Niall MacArthur, EAT. has 53 outlets at the time of writing, making a range of soups, pies, salads, wraps, sushi, desserts and baked goods (as well as coffee) in kitchens on each premises. Laudable as this is, there can be little doubt that it owes much of its success to Angus Hyalnd’s graphics, which are as strong as a cup of espresso. Appointed in 2002, the Pentagram partner was asked to evolve the existing identity and ‘redefine the EAT. brand experience.’ According to the practice, this prompted what it describes as ‘a thorough investigation of the market and the credible points of differentiation between EAT. and its competitors.’”

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