Rawan Abdulmajeed
Type Forms
GR 617
Anthony Jagoda
Content:
Project 1 Glyphs - Character Set
Exploration 1 Drawing Glyphs
Exploration 2 Typesetting
Project 2 Type posters
Ex...
Rawan Abdulmajeed
Project #1
P1 / Glyphs - Character Set
Exp1 / Drawing Glyphs
Exp1 / Drawing Glyphs
Exp1 / Drawing Glyphs
Exp1 / Drawing Glyphs
Exp1 / Drawing Glyphs
Exp1 / Drawing Glyphs
Truth
Rawan Abdulmajeed
Exploration Two
225/225 Perpetua
Exp 2 / Typesetting
The quick brown
fox jumped over the
lazy dog.
Rawan Abdulmajeed
Exploration Two
60/66 Didot
Exp 2 / Typesetting
The rules of typography can be broken,
but never ignored.
Rawan Abdulmajeed
Exploration Two
36/48 Frutiger
Exp 2 / Typeset...
Type design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great tradition of...
Rawan Abdulmajeed
Exploration Two
8/33 Futura
Type design is rarely, if ever, about being wholly original. At root, there ...
Rawan Abdulmajeed
Exploration Two
7/12 ITC Century
Type design is rarely, if ever, about being wholly original. At root, t...
R
R
R
R
R
R
R
R
Didone
Didot is a name given to a group of typefaces
named after the famous French printing and type
produ...
Slab Serif
Rockwell is a serif typeface belonging to the classification
slab serif, or Egyptian, where the serifs are unbra...
AAAAAAAAAAAA
AA
A
A
AAAAAAAAAAAAAAAAAAAAAAAAAA
A
A
Sans-Serif
H. Berthold AG was one of the largest and
most successful ty...
Truth
Rawan Abdulmajeed
ExplorationThree
270/270 Gill Sans Light
Exp 3 / Kerning
Rawan Abdulmajeed
Exploration Three
140/140 Bodoni Bold Condensed
Word &
Image
Exp 3 / Kerning
“artistic” license.
Rawan Abdulmajeed
Exploration Three
68/72 Frutiger Black
Exp 3 / Kerning
(415) 621 8019
Rawan Abdulmajeed
Exploration Three
96/96 Myriad Pro Light
Exp 3 / Kerning
Rawan Abdulmajeed
Exploration Three
96/96 Garamond Bold
RAwAn
ABDULMajeed
Exp 3 / Kerning
Rawan Abdulelah Abdulmajeed
Graphic Designer & Art Director
Raabdulmajeed.blogspot.com
Behance.net/ramajeed
Raabdulmajeed@...
Rawan Abdulmajeed
Exploration Five
10 / 30 Frutiger (Italic, Roman)
14 / 30 Frutiger (Bold)
Letters of Introduction
From T...
Rawan Abdulmajeed
Exploration Five
9 / 14 Gill Sana (Bold, Light Italic, Black)
Letters of Introduction
From Twentieth Cen...
Rawan Abdulmajeed
Exploration Five
30 / 48 Franklin Gothic (Extra Condensed)
60 / 36 Franklin Gothic (Condensed)
24 / 24 F...
Rawan Abdulmajeed
Exploration Five
Futura Family
Letters of Introduction
From Twentieth Century Type by Lewis Blackwell
Ty...
Rawan Abdulmajeed
Exploration Five
Rockwell Family
Letters of Introduction
From Twentieth Century Type by Lewis Blackwell
...
Typeform Class
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Typeform Class

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It's a Typography class.

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Typeform Class

  1. 1. Rawan Abdulmajeed Type Forms GR 617 Anthony Jagoda
  2. 2. 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
  3. 3. Rawan Abdulmajeed Project #1 P1 / Glyphs - Character Set
  4. 4. Exp1 / Drawing Glyphs
  5. 5. Exp1 / Drawing Glyphs
  6. 6. Exp1 / Drawing Glyphs
  7. 7. Exp1 / Drawing Glyphs
  8. 8. Exp1 / Drawing Glyphs
  9. 9. Exp1 / Drawing Glyphs
  10. 10. Truth Rawan Abdulmajeed Exploration Two 225/225 Perpetua Exp 2 / Typesetting
  11. 11. The quick brown fox jumped over the lazy dog. Rawan Abdulmajeed Exploration Two 60/66 Didot Exp 2 / Typesetting
  12. 12. The rules of typography can be broken, but never ignored. Rawan Abdulmajeed Exploration Two 36/48 Frutiger Exp 2 / Typesetting
  13. 13. 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 Abdulmajeed Exploration Two 10/18 Garamond Exp 2 / Typesetting
  14. 14. Rawan Abdulmajeed Exploration Two 8/33 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
  15. 15. Rawan Abdulmajeed Exploration Two 7/12 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
  16. 16. R R R R R R R R Didone Didot 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
  17. 17. Slab Serif Rockwell 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
  18. 18. AAAAAAAAAAAA AA A A AAAAAAAAAAAAAAAAAAAAAAAAAA A A Sans-Serif H. 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
  19. 19. Truth Rawan Abdulmajeed ExplorationThree 270/270 Gill Sans Light Exp 3 / Kerning
  20. 20. Rawan Abdulmajeed Exploration Three 140/140 Bodoni Bold Condensed Word & Image Exp 3 / Kerning
  21. 21. “artistic” license. Rawan Abdulmajeed Exploration Three 68/72 Frutiger Black Exp 3 / Kerning
  22. 22. (415) 621 8019 Rawan Abdulmajeed Exploration Three 96/96 Myriad Pro Light Exp 3 / Kerning
  23. 23. Rawan Abdulmajeed Exploration Three 96/96 Garamond Bold RAwAn ABDULMajeed Exp 3 / Kerning
  24. 24. Rawan Abdulelah Abdulmajeed Graphic Designer & Art Director Raabdulmajeed.blogspot.com Behance.net/ramajeed Raabdulmajeed@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 Abdulmajeed Graphic Designer & Art Director Behance.net/ramajeed Raabdulmajeed.blogspot.com Raabdulmajeed@gmail.com (415) 316 - 8437 P3 / Letterhead + Business Card
  25. 25. Rawan Abdulmajeed Exploration Five 10 / 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
  26. 26. Rawan Abdulmajeed Exploration Five 9 / 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
  27. 27. Rawan Abdulmajeed Exploration Five 30 / 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
  28. 28. Rawan Abdulmajeed Exploration Five Futura 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
  29. 29. Rawan Abdulmajeed Exploration Five Rockwell 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

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