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RAYMOND BOBAR

Who's who / 11 Apr 2018 / RDW team
  • RAYMOND BOBAR2018 // Apparitions, Geta Brătescu, Venice Biennial, 2017
  • RAYMOND BOBAR2018 // Apparitions, Geta Brătescu, Venice Biennial, 2017
  • RAYMOND BOBAR2018 // Apparitions, Geta Brătescu, Venice Biennial, 2017
  • RAYMOND BOBAR2018 // Apparitions, Geta Brătescu, Venice Biennial, 2017
  • RAYMOND BOBAR2018 // Apparitions, Geta Brătescu, Venice Biennial, 2017
  • RAYMOND BOBAR2018 // Black Button Books (titles 2017 and 2018)
  • RAYMOND BOBAR2018 // Black Button Books (titles 2017 and 2018)
  • RAYMOND BOBAR2018 // Black Button Books (titles 2017 and 2018)
  • RAYMOND BOBAR2018 // Black Button Books (titles 2017 and 2018)
  • RAYMOND BOBAR2018 // Black Button Books (titles 2017 and 2018)
  • RAYMOND BOBAR2018 // Iosif Király, artist’s book, Kettler, 2017
  • RAYMOND BOBAR2018 // Iosif Király, artist’s book, Kettler, 2017
  • RAYMOND BOBAR2018 // Iosif Király, artist’s book, Kettler, 2017
  • RAYMOND BOBAR2018 // Iosif Király, artist’s book, Kettler, 2017
  • RAYMOND BOBAR2018 // Iosif Király, artist’s book, Kettler, 2017
  • RAYMOND BOBAR 2017 // Black Button Books
  • RAYMOND BOBAR 2017 // Black Button Books
  • RAYMOND BOBAR 2017 // Black Button Books
  • RAYMOND BOBAR 2017 // Black Button Books
  • RAYMOND BOBAR2017 // DOR
  • RAYMOND BOBAR2017 // DOR
  • RAYMOND BOBAR2017 // DOR
  • RAYMOND BOBAR2017 // DOR
  • RAYMOND BOBAR2017 // DOR
  • RAYMOND BOBAR2017 // DOR
  • RAYMOND BOBAR2017 // DOR
  • RAYMOND BOBAR2017 // Open Calls
  • RAYMOND BOBAR2017 // Open Calls
  • RAYMOND BOBAR2017 // Open Calls
  • RAYMOND BOBAR2017 // Open Calls
  • RAYMOND BOBAR2017 // Selfie Autonom
  • RAYMOND BOBAR2017 // Selfie Autonom
  • RAYMOND BOBAR2017 // Selfie Autonom
  • RAYMOND BOBAR2017 // Selfie Autonom
  • RAYMOND BOBAR2017 // Selfie Autonom
  • RAYMOND BOBAR2017 // The Paintbrush Factory
  • RAYMOND BOBAR2017 // The Paintbrush Factory
  • RAYMOND BOBAR2017 // The Paintbrush Factory
  • RAYMOND BOBAR2017 // The Paintbrush Factory
  • RAYMOND BOBAR2017 // The Paintbrush Factory
  • RAYMOND BOBAR2017 // The Paintbrush Factory
  • RAYMOND BOBAR2017 // The Paintbrush Factory
  • RAYMOND BOBAR2017 // The Paintbrush Factory
  • RAYMOND BOBAR2016 // DOR #19
  • RAYMOND BOBAR2016 // DOR #22
  • RAYMOND BOBAR2016 // DOR #20
  • RAYMOND BOBAR2016 // DOR #21
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HISTORY
Raymond Bobar is a graphic designer specialising in editorial, book and type design. He studied typography at Cooper Union (NY) and at University of Reading. He created the design of DOR (Decât o Revistă) magazine and the Black Button Books collections. Both projects have received awards at Cele mai frumoase cărți în 2016 and 2017. He also created the graphic output of the Romanian Pavilion at Venice Biennial for the Architecture exhibition in 2016 and the Art Exhibition in 2017.

ROMANIAN DESIGN WEEK APPEARANCES

2018 // Apparitions, Geta Brătescu, Venice Biennial, 2017
Geta Brătescu’s exhibition in the Romanian pavilion had been communicated through a graphic package consisting of the book Apparitions, collaterals, website and the type treatment in the exhibition space. The book had been planned as a journal which reprints in chronological order a selection of texts written by Geta Brătescu during her career, along the visual work. The journal format (16x23 cm) with large body size in a single column flushed left, proposes an alert but comfortable reading pace. The typographic style is thought of separately from the one in the exhibition, providing the book with an autonomous bold shelf presence, outside the context of the exhibition. The other printed and digital matter are united in style through the title treatment.

2018 // Black Button Books (titles 2017 and 2018)
The publishing house has three collections: short fiction, non-fiction and novel. With a large print-run, the books carry in their graphic treatment the attention to details specific for art and collectors books. The body is comfortably large and well spaced, margins generous and the cover design is functional and presenting only the essentials, without nonsense decoration. The display typography is daring, based on bold types bolstered by vivid Pantone inks.

2018 // Iosif Király, artist’s book, Kettler, 2017

The book presents concisely (160 pages) the photographic oeuvre of Iosif Király in chronological order. The format (21x21 cm) is following the standard of the series of Kettler’s artist’s books. The content is translated in German, English and Romanian, and printed in three different impressions (without spot colour): cyan, magenta and key colour, in order to achieve clarity and obvious separation of the three different languages, meeting the editorial intention.

2017 // Black Button Books
The publishing house has a collection of fiction and another one based on non-fiction. With a large print-run, the books carry in their graphic treatment the attention to details specific for art and collectors books. The body is comfortably large and well-spaced, margins generous and the cover design is functional and presenting only the essentials, without nonsense decoration. The display typography is daring, based on bold types bolstered by vivid Pantone inks.

2017 // DOR
Decât o Revista is a quarterly publication of narrative journalism, founded in 2009 by a group of journalists, photographers and designers. In 2015 the magazine has been given a new format that of a journal (24x16cm) with the design adapted to a new editorial program made of essays and long-form. Each new issue is configured around a central theme and the display typography is inspired by it.
In 2016 the journal had won the award for editorial design in the competition “Cele mai frumoase carti” and it has been exhibited, together with the other winning projects at the Museum of Contemporary Art and other book exhibitions.

2017 // Open Calls
A book which archives six years of the Open Calls program of the Salonul de Proiecte in Bucharest. It contains eight exhibitions, artist’s biographies and critical texts, in bilingual format. The book is bound by hand with hardcover. It is split in two main sections, the first carrying the exhibitions with a high density of visual material, and the second, text only, each of them printed on suitable paper. The book is sewn in signatures and bound in a durable hardcover, adapted to the book size, making the book into a long term printed archive.

2017 // Selfie Autonom
Decât o Revista is a quarterly publication of narrative journalism, founded in 2009 by a group of journalists, photographers and designers. In 2015 the magazine has been given a new format that of a journal (24x16cm) with the design adapted to a new editorial program made of essays and long-form. Each new issue is configured around a central theme and the display typography is inspired by it.
In 2016 the journal had won the award for editorial design in the competition “Cele mai frumoase carti” and it has been exhibited, together with the other winning projects at the Museum of Contemporary Art and other book exhibitions.

2017 // The Paintbrush Factory
This graphic project is a package of publications functioning as a retrospective of the Factory, consisting of a photographic album and text signatures. The album, made of uninterrupted photographic material, in a chronological sequence, from the beginning of the Factory’s activity and until now. The text signatures are work in progress and some more of them will be published and added to the collection in future. They are printed on pale-colored paper for visual differentiation.

2016 //
DOR, DECÂT O REVISTĂ
DoR, Decât o Revistă is a celebrated quarterly of narrative journalism, which presents in depth stories of our time. Created by a pool of passioned writers and designers, the magazine covers stories from education, health, science, sport, art, migration, marginal spaces and entrepreneurship.
The design is of avant-garde approach, with a focus on outstanding typography. The graphic style is experimental and yet settled. The display typography is built around the issue theme. The paper creates a nostalgic atmosphere. The format is comfortable to handle and carry around.

2016 // IVERA, MULTISCRIPT TYPEFACE
Ivera bridges the handwriting influences of the vernacular with the discipline of type. Its intent would be prose, essay and philosophy. It would accommodate virtually any kind of long-form reading on paper or screen. Graphic designers today increasingly insist on a ‘human’ touch to their work. A lot of hand lettering and type-based illustration is printed on posters, book covers and various packaging. Ivera shows a lyrical feel and conveys a casual attitude, by introducing alterations and non-repetitive features to the characters.