typeform class
DESCRIPTION
It's a Typography class.TRANSCRIPT
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/[email protected](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/[email protected](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