Insider: Eye magazine #92

by Grace Wang in October 2016

We immediately thought of Eye magazine when we were making our Top 10 Design mags post the other week. The international review of graphic design never ceases to impress with every edition.

Their newest issue, #92, examines the relationship between posters and the human body, interviews the founders of Riposte magazine, and takes a humorous look at how progress bars have shaped our experience of media consumption on the internet.

We ask John L. Walters, who has been editor of the magazine since 1999, to share some moments behind the making of this issue.

In the making of this issue we:

Explored…
Posters, magazines, architectural books, type design, the vexed issue of progress bars, conceptual art in Camberwell and the need for polymath illustrators. Plus reviews about cinema, skateboarding, art, photography, typography and information design, etc.

Couldn’t stop chuckling at…
Tom Gauld’s illustration about progress bars

Ate…
Sandwiches from the Dusty Knuckle

Are you eating this right now? Why not? #lunch is served Dusty Knuckle style. Flamboyantly baking London's finest. In goes the good stuff and out come the smiles. VISIT US before someone else eats your sandwich mate. #food #sourdoughseptember #dalston #yummy

A photo posted by The Dusty Knuckle (@thedustyknuckle) on Sep 9, 2016 at 5:15am PDT

Used…
Gill Sans Nova (this issue’s guest typeface)

EBYB92 from Eye magazine on Vimeo.

Met…
Stuart Geddes

Argued about…
The cover (in a good-humoured way)

Went to…
Melbourne, Zagreb, Clerkenwell, Camberwell, Peckham, Warsaw, Falmouth, Bexhill-on-Sea, Berlin, and finally Uckfield (where we print Eye, see top picture showing Simon Esterson on press).

Were amazed by…
Mongrel Rapture

Mongrel Rapture in Eye92 from Eye magazine on Vimeo.

Lost sleep over…
The referendum

And everyone should buy a copy of Eye 92 because…
It is packed with interesting words and images and ideas from around the world. As the editorial states, “it is heartening to be reminded of the value of print by at least three generations of designers.”

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