This document appears to be a student portfolio documenting explorations and projects in a graphic design course focused on typography. It includes explorations of drawing glyphs, typesetting with different typefaces, kerning, and typographic hierarchy. It also includes projects on character sets, type posters, letterhead and business cards. The portfolio demonstrates the student's growing skills and understanding of typographic principles.

1. Rawan Abdulmajeed
Type Forms
GR 617
Anthony Jagoda

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. Rawan Abdulmajeed
Project #1
P1 / Glyphs - Character Set

4. Exp1 / Drawing Glyphs

5. Exp1 / Drawing Glyphs

6. Exp1 / Drawing Glyphs

7. Exp1 / Drawing Glyphs

8. Exp1 / Drawing Glyphs

9. Exp1 / Drawing Glyphs

10. Truth
Rawan Abdulmajeed
Exploration Two
225/225 Perpetua
Exp 2 / Typesetting

11. The quick brown
fox jumped over the
lazy dog.
Rawan Abdulmajeed
Exploration Two
60/66 Didot
Exp 2 / Typesetting

12. The rules of typography can be broken,
but never ignored.
Rawan Abdulmajeed
Exploration Two
36/48 Frutiger
Exp 2 / Typesetting

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. 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. 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. 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. 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. 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. Truth
Rawan Abdulmajeed
ExplorationThree
270/270 Gill Sans Light
Exp 3 / Kerning

20. Rawan Abdulmajeed
Exploration Three
140/140 Bodoni Bold Condensed
Word &
Image
Exp 3 / Kerning

21. “artistic” license.
Rawan Abdulmajeed
Exploration Three
68/72 Frutiger Black
Exp 3 / Kerning

22. (415) 621 8019
Rawan Abdulmajeed
Exploration Three
96/96 Myriad Pro Light
Exp 3 / Kerning

23. Rawan Abdulmajeed
Exploration Three
96/96 Garamond Bold
RAwAn
ABDULMajeed
Exp 3 / Kerning

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. 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. 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. 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. 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. 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