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Cnap 2019 report

Contributed by Lucas Le Bihan on Oct 6th, 2020. Artwork published in .
    Cnap 2019 report 1
    Source: http://doublelestudio.com Studio Double. License: All Rights Reserved.

    The 2019 activity report of the Centre National des arts Plastiques (“National Center for Plastic Arts”, Cnap) is a summary with a lot of data of all its art promotion activities. It is fully set in Cucina neretta and Whyte Inktrap. The designers, Studio Double, put it like this:

    The challenge was both to represent their complex data in a clear and original way, but also to think of the work in the most ecological way possible, both attractive and reasoned in the means of production, the choice of inks and the shaping paper.

    The report can be downloaded as a pdf on the Cnap website.

    Cnap 2019 report 2
    Source: http://doublelestudio.com Studio Double. License: All Rights Reserved.
    Cnap 2019 report 3
    Source: http://doublelestudio.com Studio Double. License: All Rights Reserved.
    Cnap 2019 report 4
    Source: http://doublelestudio.com Studio Double. License: All Rights Reserved.
    Cnap 2019 report 5
    Source: http://doublelestudio.com Studio Double. License: All Rights Reserved.
    Cnap 2019 report 6
    Source: http://doublelestudio.com Studio Double. License: All Rights Reserved.
    Cnap 2019 report 7
    Source: http://doublelestudio.com Studio Double. License: All Rights Reserved.
    Cnap 2019 report 8
    Source: http://doublelestudio.com Studio Double. License: All Rights Reserved.
    Cnap 2019 report 9
    Source: http://doublelestudio.com Studio Double. License: All Rights Reserved.

    Typefaces

    • Cucina neretta
    • Whyte Inktrap

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    2 Comments on “Cnap 2019 report”

    1. K. Egger says:
      Oct 12th, 2020 10:27 am

      Really nice work and the fonts too. But to the foundries: Nobody likes to ask for a font if he does not know the price at first.

      I will never ask you when you don’t make it public at your foundry’s website!

    2. I can’t speak for Lucas, but my impression is that, with the Bretagne foundry (where fonts are available on request), he doesn’t aim for maximum distribution of his fonts. Running a shop is not trivial, and especially if the fonts are still in progress and not primarily made as a source of income, it can have benefits to make direct contact with designers who are interested in one’s typeface designs – get feedback, provide updates, set a custom price tag, make the fonts available for free because it’s for a good cause, or reserve the right to say no because it’s for a cause you don’t want to support.

      It may be true that you won’t ask, but others certainly do. On this website alone, there are two dozen examples for works by designers who apparently requested the Self Modern and Cucina fonts.

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