Eye, the international review of graphic design, is a quarterly printed magazine about graphic design and visual culture.
The 100th Issue Special – it’s Eye magazine’s biggest issue ever!
After nearly three decades of continuous publishing, Eye’s hundredth issue is a special called ‘Talking about graphic design’, a broad overview of current design and designers.
For this edition Eye invited eleven prominent individuals to talk about graphic design, including Liza Enebeis, Bobby C. Martin Jr, Fraser Muggeridge and Sophie Thomas, all of whom took part in the online Type Tuesday launch event on 9 June 2000. The cover feature is an interview with ‘mag-man ad-man’ Richard Turley, photographed by Maria Spann. Other interviews are with Elaine Ramos, Michael Bierut (Pentagram), Kate Moross, Jessica Walsh, Françoise Mouly (The New Yorker) and Milton Glaser, who voice their opinions and discuss work, design processes, clients and other concerns.
These illustrated conversations are interleaved with thirteen snapshots of projects that range from editorial design to digital processing, from calligraffiti to Hangul type design. In ‘Remixing the here and now’, Derek Yates profiles Dines’s Studio Blup, while ‘Kiel’s code’ by John-Patrick Hartnett examines Kiel Mutschelknaus’s evolving Space Type Generator.
Three articles address historical matters: Silas Munro’s review of ‘As, Not For’, Jerome Harris’s travelling exhibition of work by black designers; ‘Objects of inspiration’ about the Letterform Archive in San Francisco; and ‘Eye’s early years’, in which Rick Poynor, who edited the first 24 issues, recalls the aims and ideas behind the magazine’s 1990 launch. Other subjects include photographer Jack Davison (profiled by The New York Times Magazine’s Kathy Ryan); the geometrical approach of illustrator Malika Favre; French studio Spassky Fischer; Swiss letterpress designer Dafi Kühne; and Extinction Rebellion.
Editor John Walters describes Eye 100 as ‘a panorama of current, time-stamped graphic design practice,’ representing ‘a freeze-framed “now” that has taken on new significance’ in the shadow of the pandemic. At 140 pages (including covers and inserts), this is the biggest Eye ever, thanks to the generous support of readers, subscribers and advertisers worldwide. All final design and production took place during the Covid-19 lockdown, thanks to the socially distanced design team of Simon Esterson and Holly Catford and the enthusiasm and skill of Dawkins Colour and Pureprint, respectively Eye’s repro house and printers since 2008.