From gritty, story-led cocktail menus to comic book panels thick with movement and menace, Mark Reihill has built a career on illustration that refuses to sit still. Based in Ireland, he has become one of hospitality’s most distinctive visual voices, shaping the worlds of bars like The Dead Rabbit, Century Grand and Cat Bite Club, while also lending his unmistakable aesthetic to global brands including Adidas and Jameson. Equal parts illustrator, storyteller and world-builder, whether a cocktail list or a comic book, Reihill approaches every project with the same restless energy, deep research and belief that great design should make you feel something.
To celebrate longstanding service at RHC, Rachel commissioned Mark to create illustrated portraits, in his signature style, of team members who have been with the agency for more than three years. She often says her team is her superpower, and this is her way of thanking the people who consistently put in the hard work behind the scenes. In communications, the real experts are often those doing the quiet, unglamorous work; staying calm through challenges, protecting brands when it matters most, and turning pressure into poise. RHC’s Lilya Weisburg sat down with Mark to discuss his inspiration and how he brings a sense of heroism to the world of hospitality.
Can you tell us a bit about how you got started in illustration and design?
I always wanted to work in the creative industry – I love illustration, animation and design but I was never really sure which field to pursue. I studied graphic design at University back in the early 2000s. During this time I spent a placement year with an advertising agency and everything just clicked. I knew then I wanted to work in advertising as this field allowed me to work on design, illustration, art direction and storyboards, etc. After graduating I worked in an advertising agency, before going out on my own to focus on more illustration-based projects. This allowed me to be selective about the work I took on and to pursue my specific interests. I did a lot of editorial work (both features and covers), packaging design and outdoor advertising. I’ve always really enjoyed working on a range of genres and projects at one time. Having a diverse client-list keeps the projects fresh and exciting. I split my days into projects, for example: today I’m working on branding for a cocktail bar, tomorrow I’m drawing a Kevin Smith comic – that type of thing.
How did your work transition into the hospitality space? Was there a particular project that opened that door?
Yes… and no. When I started out, I was working on projects for many different companies in Belfast (editorial, print, packaging), but I honestly can’t recall if there was a specific job that led to hospitality work. One project led to another, and at some point I found myself doing work for several bars in the city. I stumbled into the industry organically — and I’ve never looked back.
To celebrate longstanding service at RHC, Rachel commissioned Mark to create illustrated portraits, in his signature style, of team members who have been with the agency for more than three years. She often says her team is her superpower, and this is her way of thanking the people who consistently put in the hard work behind the scenes. In communications, the real experts are often those doing the quiet, unglamorous work; staying calm through challenges, protecting brands when it matters most, and turning pressure into poise. RHC’s Lilya Weisburg sat down with Mark to discuss his inspiration and how he brings a sense of heroism to the world of hospitality.
What’s unique about collaborating with hospitality clients compared to other industries?
Personally, I love it. Bartenders, chefs and artists are all wired the same way – we have tunnel vision; we’re relentless and passionate about our craft. I think that’s why we get on so well! In my experience, hospitality clients are the best type of people to work with. They’re more willing to push boundaries creatively, which in turn pushes my work. They’re also some of the most genuinely caring and people-centric individuals you could meet.
One project that stands out, and that I’m thoroughly enjoying, is Cat Bite Club. It’s been incredible to go on this journey with Jesse, Gabriel and the team – to watch Cat Bite Club first open its doors and grow into the innovative, award-winning bar it is today. Their passion for agave and rice spirits, and what they’re doing for the industry is inspiring. I love menus that aim to inform and educate the patron in a fun way. Cat Bite Club strikes the perfect balance (like their drinks).
Some of my best work and the projects I’m most proud of are the result of hospitality clients. Not just branding and menus, but everything from tiki mugs for The Dead Rabbit and afternoon tea boxes for The Merchant Hotel, to packaging for Boatyard Distillery and skateboards for Tayér + Elementary. Wildly different clients and projects but each with a passion for the industry and an absolute joy to collaborate with.
What’s your process when designing for a restaurant or bar?
Every project is unique and treated as such. With any new brief, research is key. Lots of research. A solid story is vital to building a strong brand. Patrons come to a bar or restaurant for an experience, a connection. The space, ethos and artwork all play a part in that. Once thorough R&D has been completed, I usually present the narrative alongside some branding visuals. Once approved, we continue to develop the story and build the visual language of the space through branding, printed material, menus and uniforms, etc. This is the fun part!
And I should say, it’s always so rewarding to visit once the doors have opened, to see the artwork on the wall, hold the cocktail menu in your hand and, of course, order a drink.
Are there any projects in hospitality that stand out as particularly meaningful or memorable to you?
The Dead Rabbit was one of those dream projects. So many incredible pieces over the years, but for me, the Mixed Drinks List 2nd Edition is the one that stands out. Getting to deep-dive into the history of John Morrissey, the Dead Rabbit gang and 1800s New York and come out with a gritty, violent and heroic tale, all presented in a cocktail menu – a cocktail menu! This changed the game. What The Dead Rabbit did with their first few menus, other bars are still playing catch-up years later.
Another career highlight was working with Chris Patino on his Ally Cat Old Fashioned with Live Wire. Chris was an absolute giant in the industry and loved by all. It was a pleasure to collaborate with him on the artwork, and the outcome was something we’re all proud of. I worked with Chris directly and indirectly for years (he loved the ‘pimp coat’ I drew him in on a Dead Rabbit menu), but I finally got to meet him in 2022 and spend an evening at his home. He was so complimentary about my artwork, hilarious, and more than generous with his time. Me? I was starstruck. Rest in peace Chris – a true gentleman and a huge loss to the industry.
How does your personal style influence the work you create for brands?
More often than not, a client will come to me because of my style or a previous project. “We love what you did with ‘X’ – can you do something similar for us?” Sometimes those projects can be worlds apart. I was once presented with a violent, bloody page from a Dead Rabbit menu and asked if I could do something in that style for a children’s book about cycling… Like all new projects, we work together to create an aesthetic that’s bespoke to the client.
You have quite a distinct style, how did you come to that “Mark Reihill” aesthetic?
I wanted to come up with an aesthetic that would set me apart from other illustrators, so I started experimenting with styles until something resonated – something that felt uniquely mine. It’s developed organically over the years, taking small parts from each project and continually evolving. My style can pivot to suit a brief; some pieces are dark and gritty, bright and energetic, while others are soft and subdued. But you know it’s my work, and I think that’s a sign of a strong style.
I try to keep my work organic and fluid with lots of brushstrokes and splatters. I don’t want it to look too polished or calculated. I aim to give each piece a sense of movement and energy (must be why I get so many sport-related projects!). If someone is holding a cocktail shaker, you can feel it moving and if, for a Dead Rabbit menu for example, someone is getting punched in the face, you can really feel the impact.
Any advice for illustrators or designers looking to break into hospitality design?
To paraphrase Pablo Picasso, “Opportunity exists, but it has to find you working.” You can’t expect work to fall into your lap. In downtime, or when between projects, explore new techniques and experiment. Some of my best advertising work has come from clients seeing my personal projects. Work leads to work. Keep busy.
