I had the opportunity to ask a couple of questions to the It’s Nice That team for the released of their bi-annual magazine – Printed Pages. Since you’re probably familiar with this publication, I decided to explore a bit more the process behind it.
Thanks again to Owen Pritchard and the team for the answers.
Could you introduce the team behind Printed Pages.
Printed Pages is put together by the It’s Nice That editorial and creative teams. There are eight of us in total. Together our interests and expertise cover a broad array of disciplines, which we hope makes for a varied and vital publication.
How’s the editorial process? How do you select the subjects, artists and designers?
The magazine is a compendium of the best work that has been featured on It’s Nice That over the past six months. It is intended as a snapshot of the creative world at a particular moment in time. Individually we choose, month by month, the articles and features that we are most inspired by, then bring them all together to find where there is consensus and to champion certain work. From there we begin to think about the flatplan and rhythm of the publication in terms of the length of stories, the visual pace and the mix of disciplines.
How to run an exciting print publication when the online is your core focus, do you have any conflict between the two entities?
There’s not a conflict as such, but when we revisit the work in print, quite often you find that your thoughts about it have changed. The words and images are interpreted at a different pace in print to when it appears online – the impact a story has on a personal level might change. I think this is especially true of Jane Stockdale’s images of the Kosovo Olympic team. The shots are fantastic, but as the Rio Games loom, they have even more impact. There are also occasions where work that appeared dynamic or inventive when it was first published might seem dated or hackneyed by the time we compile the print issue, or it might have been executed in a more dynamic or inspiring way by someone else. By and large however, if it seemed like a great idea when we first encountered it, it probably still has an impact.
How do you keep up the pace with It’s Nice that, events and Printed Pages?
We drink lots of coffee. We are constantly looking for great ideas and looking to convey how they came to be. We are in a lucky position where we are a platform to showcase creative work in a positive and cooperative way. It’s a role that we take very seriously and across the website, the magazine and our live events we are continually looking to introduce our readers to inspiring work and individuals.
What’s next for Printed Pages?
We have a quick breather and a debrief on the editorial process. Then we will decide what might need a tweak or what else we can try with the format. We are already discussing the way that our features work online and how they might, in time, translate to the printed edition. The response to this issue has been overwhelming, we will be working hard to make the next one even better.
06 – And a bit more personal question to end this interview. You have in the past collaborated with two designers that I really like – Joe Burrin and Philip Cronerud – Both (were) based in the Netherlands (P.Cronerud just moved to California). What’s your connection with the lowland? Is there a specific Dutch talent we should we keep our eyes on ?
(From Jamie – Art Director) The connection wasn’t specifically dutch. Our founder, Will Hudson worked once upon a time with Joe Burrin. They stayed in touch as friends and Joe took on the design of It’s Nice That magazines for many many years and the first few issues of Printed Pages. Philip assisted Joe during his time at Weiden + Kennedy and they made for quite the team. It has been a natural evolution for us to have now brought the design and Art Direction in house for the last two issues.