Rawan AbdulmajeedType Forms

GR 617Anthony Jagoda

Content:Project 1 Glyphs - Character Set Exploration 1 Drawing Glyphs

Exploration 2 Typesetting

Project 2 Type posters

Exploration 3 Kerning

Project 3 Letterhead + Business Card

Exploration 5 Typographic Hierachy

Rawan AbdulmajeedProject #1 character SetWeek # 5

P1 / Glyphs - Character Set

Exp1 / Drawing Glyphs

Exp1 / Drawing Glyphs

Exp1 / Drawing Glyphs

Exp1 / Drawing Glyphs

Exp1 / Drawing Glyphs

Exp1 / Drawing Glyphs

Truth

Rawan AbdulmajeedExploration Two225/225 Perpetua

Exp 2 / Typesetting

The quick brown fox jumped over the lazy dog.

Rawan AbdulmajeedExploration Two60/66 Didot

Exp 2 / Typesetting

The rules of typography can be broken, but never ignored.

Rawan AbdulmajeedExploration Two36/48 Frutiger

Exp 2 / Typesetting

Type design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great tradition of letterforms., a tradition which enables

us to have the notion of a readable alphabet. And yet, a totally unreadable font driven out the familiar territory of a keyboard is created within the context of

language-making tools. Something familiar through which we know our instructions are being codified, our orders remembered. Forget the bookthe magazine,

or the television - they are secondary realizations of typography. It is the keyboard and screen that are our typographic mediators now, and our typographic

intelligence is bonded with that of computers. Type is about much more than questions of legibility or readability. Fashions and technological change are just

part of the backdrop. What makes typography fascinating, and an essential enquiry for anybody involved in design,is that this activity is a manifestation of our

search for greater efficiency and greater power in the written word. It reveals personalities, politics, and economic factors, along with advances in science. It is

a celebration of humanity, and a vital and subtle indicator of values. - Lewis Blackwell, Twentieth Century Type

Rawan AbdulmajeedExploration Two10/18 Garamond

Exp 2 / Typesetting

Rawan AbdulmajeedExploration Two8/33 Futura

Type design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great tradition of letterforms., a tradition which enables us to have the notion of a readable alphabet. And yet, a totally

unreadable font driven out the familiar territory of a keyboard is created within the context of language-making tools. Something familiar through which we know our instructions are being codified, our orders remembered.

Forget the bookthe magazine, or the television - they are secondary realizations of typography. It is the keyboard and screen that are our typographic mediators now, and our typographic intelligence is bonded with that of

computers. Type is about much more than questions of legibility or readability. Fashions and technological change are just part of the backdrop. What makes typography fascinating, and an essential enquiry for anybody

involved in design,is that this activity is a manifestation of our search for greater efficiency and greater power in the written word. It reveals personalities, politics, and economic factors, along with advances in science. It

is a celebration of humanity, and a vital and subtle indicator of values. - Lewis Blackwell, Twentieth Century Type

Exp 2 / Typesetting

Rawan AbdulmajeedExploration Two7/12 ITC Century

Type design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great tradition of letterforms., a tradition which enables us to have the notion of a readable alphabet. And yet, a totally

unreadable font driven out the familiar territory of a keyboard is created within the context of language-making tools. Something familiar through which we know our instructions are being codified, our orders remembered.

Forget the bookthe magazine, or the television - they are secondary realizations of typography. It is the keyboard and screen that are our typographic mediators now, and our typographic intelligence is bonded with that of

computers. Type is about much more than questions of legibility or readability. Fashions and technological change are just part of the backdrop. What makes typography fascinating, and an essential enquiry for anybody

involved in design,is that this activity is a manifestation of our search for greater efficiency and greater power in the written word. It reveals personalities, politics, and economic factors, along with advances in science.

It is a celebration of humanity, and a vital and subtle indicator of values. - Lewis Blackwell, Twentieth Century Type

Exp 2 / Typesetting

R

RR

R

RRR

RDidoneDidot is a name given to a group of typefaces named after the famous French printing and type producing family. The classification is known as modern, or Didone. The typeface we know today was based on a collection of related types developed in the period 1784–1811. Firmin Didot (1764–1836) cut the letters, and cast them as type in Paris. His brother, Pierre Didot used the types in printing. His edition of La Henriade by Voltaire

P2 / Type posters

Slab SerifRockwell is a serif typeface belonging to the classification slab serif, or Egyptian, where the serifs are unbracketed and similar in weight to the horizontal strokes of the letters. The typeface was designed at the Monotype foundry's in-house design studio in 1934. The project was supervised by Frank Hinman Pierpont. Slab serifs are similar in form and in typographic voice to realist sans-serifs like Franklin Gothic. Rockwell is geometric.

P2 / Type posters

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Sans-SerifH. Berthold AG was one of the largest and most successful type foundries in the world for most of the modern typgraphic era, making the transition from foundry type to cold type successfully and only coming to dissolution in the digital type era. Established in 1858 by Hermann Berthold

P2 / Type posters

Truth

Rawan AbdulmajeedExploration Three270/270 Gill Sans Light

Exp 3 / Kerning

Rawan AbdulmajeedExploration Three140/140 Bodoni Bold Condensed

Word &Image

Exp 3 / Kerning

“artistic” license.

Rawan AbdulmajeedExploration Three68/72 Frutiger Black

Exp 3 / Kerning

(415) 621 8019

Rawan AbdulmajeedExploration Three96/96 Myriad Pro Light

Exp 3 / Kerning

Rawan AbdulmajeedExploration Three96/96 Garamond Bold

RAwAnABDULMajeed

Exp 3 / Kerning

Rawan Abdulelah AbdulmajeedGraphic Designer & Art Director

Raabdulmajeed.blogspot.comBehance.net/ramajeedRaabdulmajeed@gmail.com(415) 316 - 8437

From: Rawan Abdulelah Abdulmajeed 458 Bush st San Francisco, CA 46719

To: Rayan Abdulmajeed 435 Westfiled st Omaha,NE 94381

To whom it may concern,

Rawan Abdulmajeed was my student in a graduate level writing class. She was very motivated to excel, and surprised me with her talent, thoughtfulness, and tenacity. Additionally and for other classes, she attended my writing workshop. Because she hardworking and creative,she improved tremendously.

In her approach to her work, I notice that she is very eager to improve, very organized, attentive to detail and consistently careful. When she decides to do something, she nails it. With opportunity and direction, she creates wonderful things.

Best regards,

Rawan Abdulelah AbdulmajeedGraphic Designer & Art Director

Behance.net/ramajeedRaabdulmajeed.blogspot.comRaabdulmajeed@gmail.com(415) 316 - 8437

P3 / Letterhead + Business Card

Rawan AbdulmajeedExploration Five10 / 30 Frutiger (Italic, Roman)14 / 30 Frutiger (Bold)

Letters of Introduction

From Twentieth Century Type by Lewis Blackwell

Type design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great tradition

of letterforms, a tradition which enables us to have the notion of a readable alphabet. And yet, a totally unreadable

font drivenout the familiar territory of a keyboard is created within the context of language- making tools. Something

familiar through which we know our instructions are being codified, our orders remembered. Forget the book the

magazine, or the television- they are secondary realizations of typography. It is the keyboard and screen that are our

typographic mediators now, and our typographic intelligence is bonded with that of computers.

Exp5 / Typographic Hierachy

Rawan AbdulmajeedExploration Five9 / 14 Gill Sana (Bold, Light Italic, Black)

Letters of Introduction

From Twentieth Century Type by Lewis Blackwell

Type design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great

tradition of letterforms, a tradition which enables us to have the notion of a readable alphabet. And yet,

a totally unreadable font drivenout the familiar territory of a keyboard is created within the context of

language- making tools. Something familiar through which we know our instructions are being codified,

our orders remembered. Forget the book the magazine, or the television- they are secondary realizations

of typography. It is the keyboard and screen that are our typographic mediators now, and our typographic

intelligence is bonded with that of computers.

Exp5 / Typographic Hierachy

Rawan AbdulmajeedExploration Five30 / 48 Franklin Gothic (Extra Condensed)60 / 36 Franklin Gothic (Condensed)24 / 24 Franklin Gothic (Extra Condensed)

Letters of Introduction

From Twentieth Century Type by Lewis BlackwellType design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great tradition of letterforms, a tradition which enables us to have the notion of a readable alphabet. And yet, a totally unreadable font drivenout the familiar territory of a keyboard is created within the con-text of language- making tools. Something familiar through which we know our instructions are being codified, our orders remembered. Forget the book the magazine, or the television- they are secondary realizations of typography. It is the keyboard and screen that are our typographic mediators now, and our typographic intelligence is bonded with that of computers.

Exp5 / Typographic Hierachy

Rawan AbdulmajeedExploration FiveFutura Family

Letters of Introduction

From Twentieth Century Type by Lewis Blackwell

Type design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great

tradition of letterforms, a tradition which enables us to have the notion of a readable alphabet. And yet,

a totally unreadable font drivenout the familiar territory of a keyboard is created within the context of

language- making tools. Something familiar through which we know our instructions are being codified,

our orders remembered. Forget the book the magazine, or the television- they are secondary realizations

of typography. It is the keyboard and screen that are our typographic mediators now, and our typographic

intelligence is bonded with that of computers.

Exp5 / Typographic Hierachy

Rawan AbdulmajeedExploration FiveRockwell Family

Letters of IntroductionFrom Twentieth Century Type by Lewis Blackwell

Type design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great tradition of letterforms, a tradition which enables us to have the notion of a readable alphabet. And yet, a totally unreadable font drivenout the familiar territory of a keyboard is created within the context of language- making tools. Something familiar through which we know our instructions are being codified, our orders remembered. Forget the book the magazine, or the television- they are secondary realizations of typography. It is the keyboard and screen that are our typographic mediators now, and our typographic intelligence is bonded with that of computers.

Exp5 / Typographic Hierachy