If you’ve ever dated a graphic designer, this has likely happened to you. You’re seated comfortably at a charming restaurant, presented with menus, and you watch as your companion scans up and down the entrées. Menus are flipped over, brows furrow; eyeglasses are lifted as eyes squint at the details. You catch an occasional “huh” that suggests the discerning judgment of the true connoisseur, and think you’re in for a treat. “See anything you like?” you ask innocently. “I like the italic small caps on the wine list,” comes the response, “but they used Arial for the bottom two lines.” It’s amazing we get invited anywhere.
Lunchtime at H&Co tends to provoke these conversations, and with no civilians in attendance, we’re free to nerd out. We’ve been thinking a lot recently about the different typographic idioms that restaurants use to telegraph what’s in store — how the folksy barbecue joint distinguishes itself from the faux French bistro, or the more-Brooklyn-than-Brooklyn sandwich shop — and have been looking for ways to help designers communicate a restaurant’s culture without resorting to shopworn clichés. No wood type with the pulled pork, or belle epoque frippery with the poached eggs: you can definitely use modern, relevant, and satisfying typography, and still set the right tone.
You’ll find a few of our suggestions at What’s Cooking, a collection of thirteen typographic menus (plus a few amuse-bouches), today at Discover.typography. These autumnal settings are a follow-up to Save the Date, our summertime celebration of the invitations that turn into cherished keepsakes once the first chill of fall enters the air. We hope you’ll enjoy them both. —JH