Now in its 11th issue, Printed Pages is a publication from the people at It’s Nice That. It mixes fantastic creative pedigree to present a fun, focused read that showcases the best of their website in print.
What is Printed Pages?
Printed Pages is a biannual publication put together by the team at It’s Nice That. It takes the best features and work from the It’s Nice That website and compiles them into a 240-page magazine that reflects the creative output of the previous six months. It’s a celebration and record of the inspiring creative work carefully edited and designed to be experienced in print. We hope it is something that can be enjoyed time and time again.
What makes it different to the rest?
The tone and breadth of our coverage is vitally important to our operation. Each day we publish a wealth of content which we then revisit to create a magazine that will surprise and engage readers, even if they have seen the content before. We are in a unique position to be able to include illustration, photography, art, graphic design and much more in each issue. On top of this, the features that we commission original creative work for are revisited, so there is exclusive content in each magazine that tells the stories in different ways.
Who makes Printed Pages?
There is a team of editors, creatives and project managers who put the magazine together at our office in Haggerston. It’s a collaborative effort and lots of hard work, but also fun.
Who reads it?
I could bore you with our audience survey stats, but we like to think it’s a magazine for people who are interested in and buy into our way of doing things. It’s a magazine put together with great care in a celebratory spirit — we hope our audience are of a similar mindset.
Why do you work on a magazine?
It’s important for us to revisit content and think about the way a publication works. We spend a lot of time writing about other publications, illustrators, graphic designers and the like. Printed Pages is an opportunity to structure great creative work in a different way to our online platforms. There is a sense of permanence and tactility to the magazine that doesn’t exist online — much of the work is produced physically, it feels right to reproduce it in print.
What would you change about Printed Pages if you could?
I’d have an unlimited budget and a massively generous deadline. Failing that, I’d just like everyone we approach to commission or feature to say yes — sometimes schedules just don’t allow for us to collaborate with certain people.
Can you pick a favourite issue of Printed Pages?
The last one with the three covers of the Don’t Hug Me I’m Scared puppets shot by Neil Bedford. We seen a lot of time working on the structure of the magazine and created a format that we feel offers great opportunities for us creatively. The fact that it sold well was vindicating and has made us up our game for the next issue.
Where do you see Printed Pages in five years?
I like to think that the physical form of the magazine will evolve and the creative and editorial teams will continue to challenge the format of the publication. I can’t predict if print and digital will continue to diverge, but the opportunities that exist in the overlaps between the two are, as yet, unexplored and that is incredibly exciting.