Cnap — 2022 Annual Report
editorial design
book design
Every year, The French national institute for visual arts (Cnap) collaborates with a different graphic design studio in order to creates its annual activity report. For the 2022 edition, we designed a 300-page publication that seeks to minimize its impact on the environment while preserving its visual appeal, physical qualities, and readability.
Cnap is committed to a Corporate Social Responsibility (CSR) approach and pays particular attention to environmental preservation. This virtuous approach is essential to us and resonates with our current concerns as designers, deeply affected by the mankind entry into the Anthropocene era. The choices in graphic and editorial design for the 2022 activity report have been consistently guided by this fruitful constraint at every stage of the book's conception.
The book's cover is embossed only, eliminating the need for a passage under an offset printing press.
The chosen format allows for printing 16 pages per printing sheet, minimizing paper waste and optimizing human and mechanical resources. The layout is designed to minimize the use of four-color printing, which is reserved for reproducing artworks. The layout grid encourages breathing space and areas left ink-free.
We have decided to work as much as possible with suppliers located in close proximity to our workshop - the LANA paper company in Strasbourg and Ott printing in Wasselonne - in order to minimize the impact of raw material transportation and our own travels. The cover of the Cnap's 2022 activity report is made with LANA Terra 220g paper, which is derived from the recycling of packaging waste. The inner text sections are printed on LANA tutti-frutti 80g paper, sourced from the recycling of security paper offcuts. Images are reproduced on Fedrigoni Arena Rough 120g paper, a certified FSC paper made from ECF pulp, which was already in stock at Ott printers when the order was placed. Therefore, its use did not require any additional production or transportation. Everything is bound without glue, using a metal spiral binding.
Our typographic choices seek to be consistent with these virtuous design principles. We have selected two typefaces from independent foundries and contemporary designers. The report is composed using Rizoma, designed by Rui Abreu and distributed since 2022 by R-typography, as well as Söhne, designed by Kris Sowersby and distributed since 2019 by Klim Type Foundry.
The random patterns used in the data section allow for clear contrasts between elements while avoiding excessive ink coverage.
