Natasha Assma Kowo
MDes Interdisciplinary
Emily Carr University of Art + Design

2024.

Typography and The Black Female Experience.

Suspervisor: Cameron Neat
Internal Reviewer: Leo Vicenti
External Reviewer: Terresa Moses
1

A Thesis Paper Submitted In Partial
Fulfilment Of The Reguirements For The Degree Of
Master of Design.

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3

acknowledges.
I would like to express my deepest gratitude to my mothers, Hawa Ismail and
Matifadza Kowo, whose unwavering support, encouragement, and wisdom have
been the guiding lights throughout this journey. Your strength, resilience, and
love have inspired me every step of the way, and I am endlessly grateful for your
sacrifices and belief in me.
I am profoundly grateful to my father, Farai Kowo, whose steadfast support and
encouragement have been indispensable throughout my academic pursuit. His
unwavering belief in my capabilities and his consistent words of motivation have
provided me with immense strength during difficult moments.
To Vimbai Mutenzwa and Nathasha Mesi, my dearest best friends, I want to
express my heartfelt appreciation for your unwavering support during the
countless hours we spent on the phone as I navigated through my thesis. Your
encouragement and companionship mean the world to me.
To my fellow Black women, whose brilliance, courage, and perseverance
continue to shape the world in profound ways, I extend my heartfelt appreciation.
Your voices, experiences, and contributions have enriched my research
and understanding, reminding me of the importance of representation,
intersectionality, and solidarity in academia and beyond.
I am indebted to my supervisor, Cameron Neat and external, Leo Vicenti, for
their invaluable guidance, mentorship, and expertise. Your insightful feedback,
encouragement, and support have been instrumental in shaping this thesis and
pushing me to strive for excellence.
I am deeply grateful to Terresa Moses for her invaluable support and guidance
during my thesis journey. Her expertise and feedback were pivotal in shaping
my work and navigating research complexities. Terresa’s dedication to providing
constructive criticism and insightful suggestions enhanced both the quality of my
thesis and my understanding of the subject. I sincerely appreciate her time and
effort invested in reviewing my work and sharing her expertise.

big thanks <3

4

dedication.
To my mothers,
You are my rocks. You are the real definition of a
strong black woman.

Dear black woman,
You are who you are. Let your melanin shine.
Your braids, weaves, cornrows and your nails are
fine, it defines you.

5

abstract.

Black Women, feminism, racism, classism,
sexism, discrimination, intersectionality,
representation, community engagement,
knowledge sharing, culture, connection,
design, graphic design, font, experimental
typography, self-publishing, zines

In my creative practice, I harness the power of typography
within zine creation to confront the pervasive influence of
Eurocentric design norms in media and society. I perceive
striking parallels between typography and racism, as both
elements envelop us and shape our daily interactions. For
black women, navigating through the intersecting challenges
of colorism, classism, racism, and sexism underscores the
urgent need to acknowledge and dismantle these systemic
injustices for the advancement of a more equitable society.
I explore how the use of playful and decorative typefaces
can foster increased engagement with my work. However, I
recognize that the typefaces I employ may not always align
with the narrative I aim to convey. My artistic endeavors are
deeply rooted in experimental typography within editorial
design, with a primary focus on print media such as zines and
posters.

Drawing inspiration from a rich legacy of subversive activism
posters, particularly those from the 1970s and 1980s, I seek
to channel the spirit of socio-political dialogue surrounding
issues of racism, sexism, and prejudice against black
individuals. These posters often utilized typography as a
potent tool for communication, such as the iconic “I AM A
MAN” movement, which employed bold, plain sans serif
typefaces to demand equitable treatment for black men in the
workforce. This juxtaposition invites the reader to engage with
my zines on multiple levels, sparking curiosity and provoking
thought through contrasting tones of loudness and
playfulness. Ultimately, my goal is to open up spaces for
dialogue and reflection, challenging existing norms and
fostering a more inclusive and critical engagement with design
and typography.

6

table of
contents:
7

acknowledgement
abstract
table of contents
glossary of term
introduction
research question
readings
role models
methods & rationales
manifestation
process work

#4
#6
#8
#9
11
#17
#20
#24
#30
#41
#42
#43
#47
#53
#59
#65
#69

#82
#84
#85
#86
#87
#89

#75

strong black woman
meet her. she is me. i am her
typographic call & response
you so black
the fundametnal to being a black
woamn
black history month sticker
hey! hey! it’s our month

type details
conclusion
future direction
post-presentation
appendix

8

glossary of
terms.
The Black Woman - This term emphasizes the unique
experiences, struggles, and identity of black women, often
acknowledging the intersectionality of race and gender in
shaping their lives.
Intersectionality – Coined by Kimberlé Crenshaw,
intersectionality is a concept that recognizes and
examines the overlapping and interconnected nature
of social categories such as race, gender, class, and
sexuality. It highlights how various forms of discrimination
and privilege intersect and influence individuals’
experiences.
Racism – The belief in the inherent superiority of one race
over another, leading to discrimination or prejudice based
on race. Racism can manifest at individual, systemic, or
institutional levels.
Sexism – Discrimination or prejudice based on a
person’s sex or gender. Sexism can manifest in various
forms, such as unequal treatment, stereotypes, or the
marginalization of individuals based on their gender.
Feminism – A social and political movement advocating
for the rights and equality of women. Feminism seeks to
address and challenge gender-based inequalities and
promote the empowerment of women in various spheres
of life.
Oppression – The unjust or cruel exercise of authority
or power, leading to the systematic subjugation,
discrimination, or mistreatment of a particular group or
individual.

Representation – The portrayal or depiction of individuals
or groups in various forms of media, culture, or society.
Discussions about representation often focus on ensuring
diverse and accurate portrayals to reflect the realities of
different identities and experiences.
Calling-in – A strategy for addressing problematic
behavior or attitudes by engaging in private, respectful,
and constructive dialogue. Calling-in is seen as an
alternative to calling-out, focusing on education and
understanding rather than public shaming.
Calling-out – A direct and public confrontation of
problematic behavior or attitudes. This approach aims to
hold individuals or groups accountable for their actions
and may involve publicly highlighting and criticizing
perceived wrongdoing.
Design – Design refers to the purpose of creating and
arranging visual elements to communicate a message or
achieve a specific purpose.
Experimental Typography – Experimental typography
involves the exploration and innovative use of typefaces,
fonts, and text elements to convey a message or create
visual interest.

Typography – Typography is the art and technique of
arranging type to make written language readable and
visually appealing.

Zines – A zine is a self-published, non-commercial
publication often created by individuals or small groups.
Zines can cover a wide range of topics, including personal
Decolonization – The process of undoing colonialism,
narratives, art, poetry, politics, DIY (do-it-yourself) culture,
which involves challenging and dismantling the structures, and more.
ideologies, and practices established during periods of
colonization. Decolonization aims to restore indigenous
sovereignty and cultural autonomy.

9

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introduction.
I am Natasha Assma Kowo, a first-generation Zimbabwean-Canadian, currently on the cusp of
attaining my master’s degree, having already secured two previous degrees. My journey unfolds
against the backdrop of my upbringing as a black woman in Harare, Zimbabwe, raised by a
resilient single mother of Zimbabwean-Mozambican heritage. In the heart of Harare, I witnessed
the unwavering commitment of my mother, from the first light of dawn until the shadows of dusk,
gracefully navigating not only her 9-to-5 responsibilities but also juggling various side hustles. Her
dedication went far beyond ensuring my own education; she generously extended her care and
support to others. As a Zimbabwean-Mozambican single mother, she seamlessly embraced the roles
of both mother and father, exemplifying resilience in the face of adversity. In my younger years, the
complexities of her sacrifices eluded my understanding. However, with the passage of time, I’ve
come to appreciate the profound depth of her commitment and sacrifice. My mother embodies the
quintessence of what we honor as a Strong Black Woman, a paragon of strength, resilience, and
unwavering determination.
Black women have long been the foundation of this world, particularly during colonization and
slavery.m It is noteworthy how contemporary society often unfairly scrutinizes Black women based on
various aspects such as their appearance, skin tone, hair, physique, and manner of speaking. Black
women are frequently labeled as loud, aggressive, and overly sensitive, while individuals who are not
Black feel entitled to pass judgment on them. Our identity as Black females is significantly influenced
by societal perceptions. When Black women embrace their natural appearance, it is often considered
unattractive; for instance, their body shape might be criticized as too large, too curvy, too dark, or
having features like big lips, among others. Conversely, when non-Black females adopt the same
aesthetic, they are often celebrated. They undergo procedures such as lip augmentation, tanning to
darken their skin, Brazilian Butt Lifts (BBLs), and adorn themselves with long nails and lashes. The
phenomenon of “blackfishing*” has emerged as a trend among non-Black females, involving the
emulation of Black people and their cultural attributes. This trend encompasses various aspects,
including adopting hairstyles traditionally associated with Black culture, such as braids or cornrows,
**
as well as appropriating vernacular language and mannerisms .

*

Bezuneh, H. (2022, January 14). It’s time we talk about blackfishing - Ms. magazine. Ms. Magazine. https://msmagazine.
com/2022/01/13/blackfishing-black-culture-appropriation/

**

Lang, C. (2021, June 10). Keeping Up with the Kardashians Is Ending. But Their Exploitation of Black Women’s Aesthetics
Continues. TIME. https://time.com/6072750/kardashians-blackfishing-appropriation/

11

The symbiotic relationship between the design sector and the arts has undeniably thrived
upon the rich tapestry of the Black aesthetic. This aesthetic permeates diverse realms, from
the rhythmic beats of jazz to the dynamic expressions of urban wear. The book The Black
Experience in Design - Identity, Expression & Reflection (2022), co-authored by six Black
designers offers a multifaceted journey, intricately weaving threads of cultural heritage, social
justice, and empowerment into its fabric, serving as a powerful lens through which one can
examine the pivotal role of the Black experience in design. The book is a comprehensive
anthology featuring essays by prominent Black designers, essential reading for every
aspiring Black design student and arguably every design student. This seminal work delves
into a myriad of crucial topics spanning Design Practices, Design Education, Activism,
Advocacy & Community-Engaged Design, and Afrofuturism in Design, and more. Through the
essays penned by these designers, readers gain valuable insights into the challenges and
triumphs encountered by Black designers within the design industry. Black designers were
often not included in design curriculum, recruited to the field of design or hired as faculty.
Black designers were often paid less than white designers. This book serves as a tribute to
the invaluable contributions made by Black creatives, highlighting their profound impact on
the very essence of design. By shedding light on the experiences of these designers, it offers
a platform for recognition and celebration of their talents and accomplishments.
*

For me personally, The Black Experience in Design - Identity, Expression & Reflection (2022)
holds immense significance. It provides a poignant glimpse into the struggles faced by these
designers, many of which resonate deeply with my own experiences and professional journey.
Engaging with this work not only enriches my understanding of the design landscape but also
serves as a source of inspiration and empowerment in my practice. In this thesis paper I will
discuss in detail how this emerges in my graphic design work.

*

Berry, A. H., Collie, K., Laker, P. A., Noel, L., Rittner, J., & Walters, K. (2022). The Black experience in
design: Identity, Expression & Reflection. Simon and Schuster.

12

Intersectionality plays a big role in the lives of Black women. Kimberlé Crenshaw introduced
the concept of Intersectionality (1989), which acknowledges the interconnectedness of various
elements within an individual’s identity, including race, gender, class, sexuality, and more. This
framework recognizes that these facets intersect and interact in complex ways, shaping individuals’
experiences and impacting their encounters with societal obstacles and opportunities. It highlights
that systems of oppression and discrimination are interconnected and cannot be understood or
addressed in isolation from one another. I have always been a designer who has been working
to establish her presence, her skill, and her identity as a Black female graphic designer. When I
examine my work environment, I notice a pattern of marginalization and a lot of questions come
to mind. I have often been the only Black female student in my programs of study (Diploma in
Advertising, BA in Graphic Design) and I am currently one of two in my Master of Design program.
In my professional role as a graphic designer, I am often working on a design brief on my own. I
have a lot of control, but I also bear the burden of responsibility for the outcomes. This creates a lot
of pressure. Unlike other types of design such as interaction design, which is more collaborative and
uses co-creation methods, graphic designers frequently work in isolation. I want to set an example
for other female Black graphic designers. I want to be the design role model I haven’t had. I’m
concentrated on using typography in conjunction with my expression of Black beauty as effectively
as possible. Experimental typography allows for the exploration of new ways to communicate and
express ideas through the manipulation of text beyond traditional conventions which tend to rely on
standard serif or sans serif fonts. I use a playful and decorative approach, for example, drawing on
bold and bubbly font types to imbue my design with a sense of fun. I also frequently work with zines
as a medium. A zine typically diverges from the commercial and professional realm, resembling
a magazine but with its own unique flair. Unlike magazines, zines prioritize amplifying diverse,
often marginalized voices overturning a profit. They are crafted out of personal interest and zeal,
frequently self-published by their creators. Collage techniques are commonly employed in their
creation, and they are often reproduced via photocopying, accessible to a wide range of individuals.
Zine making aligns closely with the principles of experimental typography. Zines are often small
and accessible – people can more readily afford to both make and purchase them. Zines come
in many different formats, even when using standard letter size 11x17 paper you can fold the
paper in multpile ways to allow for different lay outs and reader engagement. There is an inherent
playfulness and principle of inclusion within zine culture. My work utilizes typography as visual
expression, promotes creative exploration in the use of materials and formats, and makes cultural
and social commentary accessible.

13

Utilizing Typography for Visual Expression: In the
realm of zine making, typography serves as a means of
visual expression. Through experimentation, I employ
unconventional layouts, collage techniques, and other
innovative typographic approaches to communicate my
message in distinct and impactful ways.

Promoting Creative Exploration: Zine making, akin
to experimental typography, fosters creativity and
innovation. This allows me to venture into diverse
materials, printing methods, and formatting choices,
thereby expanding the boundaries of traditional design,
and uncovering fresh avenues for visual storytelling.

Cultural and Social Discourse: Zines offer a platform
for cultural and social commentary, enabling me to
delve into themes of representation, identity, and power
dynamics through typographic and visual means. By
integrating experimental typography into my zines, I
challenge prevailing narratives, elevate marginalized
voices, and initiate critical conversations with my
audience.

14

To actualize a truly inclusive and representative design landscape, my focus centers on the
principles of intersectionality and the imperative task of decolonizing design. This transformative
process hinges on four key pillars:
1. Representation: A deliberate effort to combat stereotypes and cultivate a design narrative that
embraces authenticity. It is about dismantling preconceived notions and offering more accurate,
nuanced, and inclusive portrayals that reflect the richness of the black experience.
2. Collaboration: The path to meaningful change necessitates forging alliances with black artists,
designers, and communities. By actively seeking and fostering collaborations, we can dismantle
barriers and co-create narratives that resonate with the diversity of voices within the black
experience.
3. Cultural Sensitivity: In navigating the realm of inspiration drawn from black culture, a
conscientious approach is paramount. Avoiding cultural appropriation is not only a commitment to
respect but also an acknowledgment of the need for genuine understanding and appreciation.
4. Education and Mentorship: To nurture the future of design, emphasis must be placed on
mentoring young black designers. This involves actively promoting diversity within design education,
ensuring that it becomes a space where varied voices are not only heard but also empowered to
shape the discourse.

In summary, the collective embrace of these principles fosters a collaborative and inclusive
approach to decolonizing design, ensuring that diverse voices are heard, valued, and empowered
to shape the future of the industry. By working together, designers, educators, communities, and
industry stakeholders can effect meaningful change and create a design landscape that reflects the
richness and diversity of human experiences.

15

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research
“How am I designing into spaces where I don’t
see myself being represented?”

My research question delves into the exploration of designing within spaces where one’s
identity or demographic is not adequately represented. This inquiry encompasses various
dimensions, including cultural, social, and personal perspectives. By investigating this
question, I aim to understand the challenges, opportunities, and strategies involved in
creating designs that are inclusive, responsive, and relevant to diverse communities
and individuals. This research exams existing design practices, studying theories of
representation and inclusion, exploring case studies, and potentially proposing innovative
approaches or frameworks for addressing this issue in design contexts.

question
17

The definition of “Black” and “Blackness” entails comprehending the complex connotations of these
terms, which include social experiences, cultural heritage, racial identity, and more. Here are a few
dimensions to think about:
•

Racial Identity: When discussing race, the term “Black” usually designates individuals of
African descent or those descended from African diasporic communities. This identity is
frequently linked to a common history of African peoples and their contributions to diverse
societies, as well as to experiences of racism, discrimination, and marginalization.

•

Cultural Heritage: “Blackness” refers to a diverse range of customs, languages, foods, music,
art, and other cultural expressions that have been derived from African and African diasporic
communities.

•

Social and Political Identity: The collective struggles for equality, justice, and liberation have
shaped Blackness as a social and political identity. It includes anti-racist, anti-colonialist, and
civil rights movements in addition to continuous initiatives to combat structural oppression and
improve the rights and dignity of Black people and communities.

•

Intersectionality: The complex ways in which blackness interacts with other facets of identity,
including gender, sexual orientation, class, and nationality, shapes people’s experiences.
Intersectional analyses acknowledge the complexity and diversity of Black people’s
experiences, which are shaped by a wide range of social, political, and economic variables.

•

Cultural Critique and Resistance: Another aspect of being Black is resisting dominant
narratives and hierarchies that uphold racial stereotypes and hierarchies. Black people of colour
challenge Eurocentric norms and assert their own perspectives and experiences through art,
literature, activism, and other forms of expression.

•

Individual and Group identification: For those who identify as Black or as a member of
the larger black diaspora, being black can personally be a source of pride, identification, and
belonging. It includes one’s own experiences as well as a feeling of belonging to a greater group
of people who have similar experiences and hardships.

All things considered, the ideas of “Black” and “Blackness” are complex and dynamic, including a
broad variety of experiences and meanings. They are continuously altered by historical legacies,
modern realities, and ongoing struggles for justice and liberation. They represent the complexity of
race, culture, identity, and social interactions.

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19

readings.
1. The Black Experience in
Design – Identity, Expression
& Reflection: "Designing with
Complexity: An Intersectional
View" – Chapter 0.4

Literature like The Black Experience in Design – Identity,
Expression & Reflection* has been instrumental in
enriching my understanding of the narratives shared
by fellow black designers. Despite their significant
contributions to the field, these designers often remain
overlooked within the broader design landscape. The
lack of educational focus on black designers in academic
curricula exacerbates this issue, perpetuating the
invisibility of their achievements. For instance, Jennifer
Rittner’s chapter on “Designing with Complexity: An
Intersectional View**” sheds light on the unique challenges
faced by black women, particularly regarding dress and
hair. This underscores the importance of intersectionality,
which recognizes the interconnectedness of various forms
of oppression, such as racism and sexism, and their
compounded effects on individuals experiencing multiple
layers of marginalization. Black women, in particular,
contend with discrimination stemming from colorism,
classism, racism, and sexism simultaneously. Addressing
these intersections is vital for fostering a more just and
equitable society.

*
Berry, A. H., Collie, K., Laker, P. A., Noel, L., Rittner, J., & Walters,
K. (2022). The Black experience in design: Identity, Expression & Reflection.
Simon and Schuster.

**

Berry et al. (2022, p. 37)

20

2. The Black Experience in
Design – Identity, Expression &
Reflection: “The Strong Black
Woman”– Chapter 2.5

In “The Strong Black Woman***” chapter, Terresa Moses
dismantles societal norms that have long targeted black
women. Moses explores key elements such as context,
racism, sexism, intersectionality, levels of oppression,
beliefs, cultural influences, and institutional dynamics.
Her insights have informed my research question: “How
am I designing into spaces I do not see myself bring
represented?” As a Black woman, I have personally
experienced the complexities of intersectionality in both
work environments and institutional systems. Through
my research, I aim to highlight the immense strengths
and contributions of Black women, challenging existing
narratives and advocating for greater representation and
recognition.
*
Berry et al. (2022, p. 148)
**
Berry, A. H., Collie, K., Laker, P. A., Noel, L., Rittner, J., & Walters,
K. (2022). The Black experience in design: Identity, Expression & Reflection.
Simon and Schuster.

3. Ain’t I A Woman – Black
Women & Feminism – Chapter 1

bell hooks Ain’t I a Woman: Black Women and Feminism*
examines how race, gender, and class intersect in Black
women’s lives and criticizes mainstream feminism for
failing to sufficiently address the difficulties that Black
women face. Hooks examines Black women’s experiences both historically and, in the present, praising their
contributions to feminist philosophy and activism and
criticizing the ways that racism and sexism combine to
oppress them. her book Ain’t I a Woman: Black Feminism
& Self-Recovery,
*
Hooks, B. (2014b). Ain’t I a woman: Black Women and Feminism.
Routledge.

21

bell hooks writes: “The stereotypical image of the “strong”
Black woman was no longer seen as dehumanizing, it
*

became the new badge of black female glory ”. hooks
work offers significant insights into the complex issues
of identity, oppression, and empowerment within the
Black female experience, which is relevant to my
research. It emphasizes how crucial it is to give Black
women’s perspectives and experiences a central place
in conversations about feminism and social justice.
My research can gain a deeper understanding of
intersectionality and its implications for the design field,
specifically regarding representation, inclusivity, and social
change, by incorporating hooks analysis. In addition,
hooks focus on resistance and empowerment motivates
me to investigate how design can be a tool for fighting
injustice and supporting those who are underrepresented,
such as Black women.

*

4. Sisters of the yam – black
women & self-recovery – Chapter
6: Dreaming Ourselves Dark &
Deep: Black Beauty - Chapter 6

(Hooks, 2014b, p. 6)

bell hooks book Sisters of the Yam: Black Women and
Self-Recovery* explores Black women’s experiences
and their path to empowerment and self-healing. In this
book, hooks investigate how racism and sexism, two
forms of systemic oppression, affect Black women’s selfworth and general well-being. She highlights the value
of self-awareness, self-love, and self-care as methods of
emancipation and resistance.
Sisters of the Yam: Black Women and Self-Recovery
provides insightful information about the connections
between Black women’s empowerment, wellness, and
identity that is useful for your research. My research can
get a better understanding of the ways that design can
be used as a tool to support resilience and self-recovery
within marginalized communities by diving into hooks
analysis.

*

Hooks, B. (2014a). Sisters of the Yam: Black Women and SelfRecovery. Routledge.

22

23

role models.
These remarkable women collectively embody a rich spectrum of experiences and perspectives
within the Black female narrative, underscoring the intricate dynamics of intersectionality and
its profound relevance in comprehending the multifaceted layers of identity, oppression, and
empowerment. Their stories serve as poignant reminders of the diverse realities faced by Black
women, illuminating the intersections of race, gender, class, sexuality, and more in shaping
individual journeys. These women are not just role models; they’re also catalysts for change,
motivating me and others to embrace our authenticity, question societal norms, and fight for
liberation and equality. Their resilience, bravery, and unyielding dedication to advocating for
themselves and their communities serve as powerful examples of the transformative impact of
reclaiming agency and amplifying marginalized voices. Here is a selection of the numerous Black
women who have inspired both me and my research:

Ammara Brown
Birth: 6 September 1988 | Occupation: Singer, songwriter
Notable Contributions: Ammara Brown is a Zimbabwean singer and songwriter known
for her versatile musical style, blending elements of Afro-pop, R&B, and dancehall.
She has gained recognition for her captivating performances and empowering lyrics,
addressing various social issues and celebrating African culture through her music.
Ammara Brown’s music often addresses themes of identity, empowerment, and the
experiences of Black women in Zimbabwe. Through her artistry, she contributes to
discussions on intersectionality and the diverse experiences of Black women across
different cultural contexts. On the other hand, Brown is a half Zimbabwean and half
European, she is considered a colored woman. This segment explores the historical
context of the term “coloured” or “goffal,” used to refer to people of mixed race,
predominantly in the southern parts of Africa. The term, now considered a racial slur,
reflects a progression from derogatory labels such as “slave” and “nigger” to the more
inclusive terms “black” and “African American.” In Zimbabwe, using the term coloured
is not seen as a racial slur, rather its an identity of one’s being. Whereas, in North
America, the term is very much seen as a racial slur.

Fig. 01

Ammara Brown’s musical style is a vibrant collage of genres, ranging from Afrojazz and pop to traditional Zimbabwean music. Her artistic expression seamlessly
embodies the Afrocentric aesthetic, contributing to the cultural landscape with depth
and diversity. In the context of my research, Ammara Brown’s influence extends
to various crucial aspects, including cultural heritage, identity, self-affirmation,
empowerment, Pan-Africanism, and the Afrocentric aesthetic.

24

Angela Y. Davis
Birth: January 26, 1944 | Occupation:
Political activist, scholar, author

Fig. 02

Notable Contributions: Renowned for
her involvement in civil rights, feminism,
and prison abolition movements. Davis’s
scholarship and activism focus on issues
of race, gender, and class inequality. She
thought that capitalism and racism posed
threats to American justice. The Black
Panther Party and the Student Nonviolent
Coordinating Committee’s work drew
Angela’s attention. Although Angela did
not entirely agree with their policies, she
was intrigued by their dedication to Black
Power and civil rights. The differences
between the male and female members
worried her. She believed that women
were supposed to follow rather than lead
by men.

bell hooks (Gloria Jean Watkins)
Birth: September 25, 1952 | Death:
December 15, 2021 |
Occupation: Author, feminist, social
activist

Fig. 03

25

Notable Contributions: Pioneering work
in intersectional feminism, challenging
traditional gender roles, and advocating
for the empowerment of marginalized
communities.

From being the first female on the
FBI’s Most Wanted list, Angela Davis’s
unwavering commitment to fighting for
her people remained steadfast. Despite
numerous obstacles and challenges
along the way, she persisted in her
activism and advocacy, refusing to yield
to intimidation or suppression. Angela
Davis is my role model because of her
resilience. There were many moments
when she could have succumbed to
pressure or abandoned the struggle, yet
she chose to persevere. Her courage
and determination serve as a beacon
of inspiration for me, fueling my own
drive to be unyielding in the face of
adversity. Her resilience is my drive to be
steadfast, determined, and unwavering
in my pursuit of justice, equality, and
liberation for all. Angela Davis exemplifies
the power of resilience in the face of
oppression, and her legacy continues to
inspire generations to stand firm in their
convictions and fight for a better world.

As a renowned feminist theorist, bell
hooks has extensively written about
intersectionality and the experiences
of Black women in her works. She
emphasizes the importance of addressing
the interconnected systems of oppression
that affect Black women, including
racism, sexism, and classism. hooks
has been a role model through her
deep understanding on Black women
and feminism. Her writing has help me
navigate what it means to be a Black
woman, that the existence of Black
women has often been forgetten, and the
means of feminism. In one of her works
“ *Ain’t I a Woman: Black Feminism
& Self-Recovery,* hooks mentions the
term “white fenimism”, which makes me
question: How is feminism characterized
or defined by a race? Isn’t feminism the
fight and support for all women?

Beyoncé (***Beyoncé*** Giselle KnowlesCarter)
Birth: September 4, 1981 | Occupation:
Singer, songwriter, actress

Through her music and public persona,
Beyoncé often highlights issues of race,
gender, and empowerment, particularly
from the perspective of Black women.
Her work challenges stereotypes and
celebrates the complexity and strength
of Black female identity. Flawless (2014)
comprises two segments: “Bow Down”
and “Flawless,” separated by a speech
titled “We Should All Be Feminists”
delivered by Nigerian writer Chimamanda
Ngozi Adichie during a TEDxEuston
conference. It is a trap-infused track,
featuring a gritty groove and dynamic
beat. The title and lyrics of the song
convey an assertive message advocating
for female empowerment without apology.

Fig. 04

Notable Contributions: A global icon
known for her influence in music, fashion,
and culture, Beyoncé has used her
platform to advocate for social justice,
particularly issues affecting Black women.

Fig. 05

Dorothy Hayes’s impact on my research
is significant as she represents a
pioneering figure in the field of graphic
design, particularly for Black designers.
Through her career trajectory and notable
achievements, she serves as a beacon
Dorothy Hayes
of inspiration for aspiring designers,
especially those from underrepresented
Birth: December 1, 1935
backgrounds. My observations during
my undergraduate studies at OCAD
Death: July 31, 2025
University, where I noted the dominance of
white men in the design field and the lack
Occupation: [Dorothy Hayes](https://
of representation of Black designers in art
en.wikipedia.org/wiki/Dorothy_Hayes_
history classes and textbooks, align with
Sater) began her career in graphic
the sentiments that Hayes’s work seeks
design after graduating in 1957. After
to address. As one of the Black designers
relocating to New York City, she started
featured in “The Black Experience in
her own commercial design agency
Graphic Design” (1968) by Dorothy
called Dorothy’s Door. One of her
Jackson, Hayes’s inclusion in my research
best known works, in partnership with
serves as a reminder of the importance
Joyce Hopkins, [“Black Artist in Graphic
of acknowledging and celebrating
Communication”](https://digitalcommons. the contributions of Black designers
risd.edu/risdposters/203/), was an exhibit to the field. Through my research,
showcasing forty-nine black graphic
inspired by figures like Dorothy Hayes,
designers including Dorothy Akubuiro,
I aim to shine a spotlight on the oftenJosephine Jones, and Diane Dillion. The overlooked presence and significance
exhibit was highly regarded by both US
of Black designers, challenging existing
and Canadian audiences. She invested
educational frameworks and advocating
her time into supporting Black creatives in for greater recognition and representation
a predominantly white and male industry. within the design curriculum.

26

Fig. 06

I had been searching for a spirit animal
throughout my adventure, and Nastumi
was it. I got the pleasure of interviewing
Zimbabwe’s top Female DJ. She
defied expectations of the traditional
Zimbabwean woman with her skill on a
motorcycle, elegant long nails, a hint of
smoke trailing, embellished with tattoos,
Natsumi Miyata (DJ King Her)
and her unique blend of half-Japanese
heritage. She was proof of a life that was
Birth: | Occupation: DJ
entirely her own, of a force that brought
empowerment into all of her. Moreover,
Notable Contributions: King Her, formally
meeting Miyata, whom I had long
known as Natsumi Miyata, is an Open
admired on screen, was a transformative
Format DJ (who performs a mix or set
experience. In our conversation about her
based upon any given format of music of
experiences within the male-dominated
many genres). Born in Harare, dually of
industry, Miyata, like Ammara Brown
Zimbabwean and Japanese heritage, King
in a previous interview, highlighted the
Her discovered her talent for fine arts at
role of intersectionality in her life. As
an early age. While acclaiming honours
a coloured woman, Miyata’s journey
for her paintings as well as completion
resonated deeply with me. Her freein Diploma for Multimedia and Graphic
spirited nature and unwavering drive to
Design, she also discovered her talent and
achieve accomplishments inspired me to
craft in music and modern dancing.
pursue my own path with determination
and resilience.

Serena Williams
Birth: September 26, 1981
Occupation: Professional tennis player

Fig. 07

27

Notable Contributions: Considered one
of the greatest tennis players of all time,
Serena Williams has broken numerous
records and barriers in the sport, while
also using her platform to advocate for
gender equality and social justice.

Serena Williams has broken barriers
in the predominantly white and maledominated sport of tennis, challenging
stereotypes and advocating for equal
opportunities for women of color in sports.
Her experiences highlight the intersection
of race and gender in athletic achievement
and representation. In 2009, Williams
was docked and fined $82,500 for an
angry outburst. She was deemed the
“angry black woman”. The “angry black
woman” stereotype, that black women
are domineering and aggressive, can be
traced all the way back to the late 1920s.
* Serena Williams’s journey serves
as a powerful example of resilience,
determination, and advocacy in the face
of adversity. By drawing inspiration from
her experiences, I can explore important
themes related to identity, representation,
and social justice in my work.

In conclusion, it is critical to acknowledge and celebrate the variety of experiences that make up the
Black female narrative, as demonstrated by the dynamic and varied stories of these great women.
The intricate nature of intersectionality and its significant influence on identity formation, resistance
to oppression, and the pursuit of empowerment are reflected in their individual journeys, their work/
achievements and it’s impact on others.
These women serve as inspiration to us, breaking down barriers of discrimination, debunking
stereotypes, and working toward a more equitable and inclusive society. They are force multipliers
and agents of change because of their tenacity, grit, and unshakable dedication to speaking up for
themselves and their communities. As a Black female designer I aim to act as a role model for ……
by remaining resilient in an industry where I am frequently marginlized and by creating work that
embodies a Black aesthetic.

28

methods &
rationales.
My research and projects have been more expressive and never pointed out a single target
audience. By being expressive I wanted to encompass the various methods and mediums used to
convey ideas, emotions, and messages effectively. These can include art, writing, film, or any other
form of creative expression. Choosing an expressive approach allows for communication beyond
mere facts or data, tapping into emotions, personal connections, and deeper understanding. The
decision to employ an expressive approach can stem from several reasons:
•

Engagement: Expressive mediums have the power to captivate audiences and evoke emotions,
leading to increased engagement and retention of information.

•

Accessibility: Expressive means can make complex topics more accessible to a broader audience,
including those who may not be familiar with academic or technical language.

•

Connection: By tapping into emotions and personal experiences, expressive approaches can
foster a deeper connection with the audience, encouraging empathy and understanding.

•

Creativity: Expressive mediums provide a platform for creativity and innovation, allowing for unique
and compelling ways to communicate ideas.

Regarding specifying a target audience, while it’s often beneficial to have a clear target
demographic or community in mind, there may be situations where a broader approach is preferred.
By not specifying a single target audience, the message or content can reach a wider range of
individuals, potentially sparking interest and engagement from unexpected quarters.
However, in some cases, specifying a target audience can help tailor the content more effectively
to their needs, preferences, and interests. It can also guide the choice of expressive mediums and
communication channels to ensure maximum impact. Ultimately, the decision to specify or not
specify a single target audience depends on the goals of the communication effort, the nature of the
content, and the intended outcomes. It’s essential to weigh the benefits and considerations of both
approaches to determine the most suitable strategy for the given context.

29

1. target audience:

My approach is bold and inclusive, aiming to reach
a diverse audience through the power of expressive
mediums. While traditional marketing strategies often
emphasize the importance of defining a specific target
audience, your approach embraces the idea of casting a
wider net to capture the attention of various individuals
across different demographics and communities.
By prioritizing engagement, accessibility, connection,
and creativity, I’m tapping into the universal appeal of
expressive communication. This approach allows me to
connect with people on a deeper level, regardless of their
background or interests, fostering a sense of inclusivity
and belonging.
Rather than narrowing your focus to a single
demographic, you’re embracing the potential of reaching a
broader audience and sparking interest from unexpected
quarters. This flexibility allows for greater adaptability and
responsiveness to the diverse needs and preferences of
your audience.
In essence, my research is intricately dedicated to
shedding light on the experiences of Black women,
delving into societal issues that often remain
unaddressed. Initially, I adopted a calling-in approach,
seeking to address problematic behaviours or attitudes
through private, respectful dialogue. However, I later
transitioned to a calling-out approach, opting for direct
and public confrontation to hold individuals or groups
accountable for their actions. Despite employing both
strategies, I felt a disconnect from an audience that truly
comprehended the depth of my research. It became
evident that my subject matter, centered on the lived
experiences of Black women, warranted a targeted
approach specifically tailored to this demographic.
Ultimately, your unapologetic stance on not specifying a
single target audience reflects a commitment to reaching
as many people as possible through the power of
expressive communication.

30

2. interviews:

I conducted one-on-one interviews with individuals
relevant to my research, aiming to gather diverse
insights, opinions, and personal experiences to enrich
my qualitative data collection process. These interviews
provided an opportunity for in-depth exploration of
my topic, allowing for nuanced understandings of the
issues at hand. In selecting interviewees, I sought out
women whom I identified with and who shared similar
backgrounds and attributes. Among these individuals
were Natsumi Miyata and Ammara Brown, both of whom
are Coloured Zimbabweans* actively involved in the
music industry. It’s important to note that in Southern
parts of Africa, the term “Coloured” is openly used
and does not carry the same racial connotations as it
might in other contexts. Here, “Coloured**” signifies a
multiracial ethnic identity. Natsumi Miyata, of JapaneseZimbabwean heritage, is renowned as one of the top
female DJs in Zimbabwe. Her presence and contributions
within the music scene offer unique perspectives on the
experiences of women navigating the industry. Similarly,
Ammara Brown, an Afro-pop artist and songwriter from
Harare, Zimbabwe, brings her own rich heritage and
familial legacy to her artistic endeavors. As the daughter
of the late veteran musician Andy Brown, Ammara’s
music and experiences are deeply intertwined with her
European heritage and Zimbabwean roots. Through these
interviews, I aimed to capture the diverse perspectives
and lived experiences of women of multiracial
backgrounds in the music industry, shedding light on the
intersections of race, ethnicity, and gender within this
dynamic and often complex landscape.

*

Wikipedia contributors. (2024, March 8). Goffal. Wikipedia. https://
en.wikipedia.org/wiki/Goffal

31

Ammara Brown
Ammara Brown, an Afro-pop artist and songwriter hailing from Harare, Zimbabwe, carries a musical
legacy as the daughter of the late veteran musician Andy Brown. Raised in the United States of
America by her mother, she later returned to Zimbabwe, infusing her work with a rich tapestry of
influences. Ammara Brown’s musical style is a vibrant collage of genres, ranging from Afro-jazz and
pop to traditional Zimbabwean music. Her artistic expression seamlessly embodies the Afrocentric
aesthetic, contributing to the cultural landscape with depth and diversity. In the context of my research,
Ammara Brown’s influence extends to various crucial aspects, including cultural heritage, identity, selfaffirmation, empowerment, Pan-Africanism, and the Afrocentric aesthetic. Our discussions led to three
pivotal themes:
The Coloured Cultural: This segment explores the historical context of the term “coloured” or “goffal,”
once used to refer to people of mixed race, predominantly in the southern parts of Africa. The term, now
considered a racial slur, reflects a progression from derogatory labels such as “slave” and “nigger” to
the more inclusive terms “black” and “African American.”
Connection, Language, and Rhythm: Ammara Brown emphasizes the significance of connection
and the emotive aspect of music. Her insights highlight a reinvention of the modern-day African
woman’s experience. It extends beyond what is expressed to how it is expressed, tapping into a unique
language and rhythm that encapsulates our distinct perspectives.
Ubuntu: Rooted in Southern African philosophy, the concept of Ubuntu is synonymous with values such
as interconnectedness, community, and humanity. Expressed in the Zulu phrase “Umuntu, ngumuntu,
ngabantu,” it encapsulates the idea that “I am because we are,” emphasizing the fundamental
interconnectedness of humanity.

Nastumi Miyata
King Her (Natsumi Miyata) is a Afro/ Electro/ Dancehall/ Trap DJ who has embarked on her majestic selections
of EDM with Afro Sounds to the world. Born in Harare, Zimbabwe, she defied expectations of the traditional
Zimbabwean woman with her skill on a motorcycle, elegant long nails, a hint of smoke trailing, embellished with
tattoos, and her unique blend of half-Japanese heritage. She was proof of a life that was entirely her own, of a
force that brought empowerment into all of her. Miyata was perfect for my research in looking at intentionality. I
reached out to her via Instagram, and we connected over the phone, where we then scheduled to meet in the
heart and soul of Zimbabwe, City of Harare. A few of my questions centered around the music industry and how
intentionality fit into her daily living, especially looking at how the music industry is highly dominated by men.

32

Fig. 08

Fig. 09

Fig. 10

Fig. 11

Brown: South Africa (Central African Time)
Kowo: Vancouver, BC (Pacific Time Zone)
VIA ZOOM
Dec, 2023

33

Fig. 12

Fig. 13

Miyata & Kowo
Harare, Zimbabwe
May , 2023
34

3. literature review:

In my research, reviewing the literature has proven to
be an invaluable tool for understanding established
knowledge, identifying areas that require additional
investigation, and establishing the foundation for
future projects. Examining academic literature about
the relationship between feminism and black women
has yielded information about the complex roles and
experiences of black women in society. Furthermore,
reading up on black feminism has provided me with
insightful analytical tools and theoretical frameworks that
I can use to interpret and put my research findings into
context. It has given me the confidence to negotiate the
difficulties of overlapping identities and promote equality
and social justice in activist and academic settings. The
literature review procedure has played a significant
role in directing the course of my work by offering a
strong framework for developing in-depth analyses and
significant interventions. It emphasizes how crucial it is to
interact with a range of viewpoints and give voice to the
experiences and perspectives of marginalized groups in
academic research and social justice activism.

4. finding role models:

In order to acquire a comprehensive understanding, I
desired role models with a range of experiences and
viewpoints. Investigating the biographies of each role
model entails delving into their narratives in search of
valuable lessons and sources of inspiration. The two
role models who have had the biggest influence on my
work are bell hooks and Angela Davis. These women
are excellent examples of Black feminists. bell hooks is
widely recognized for her revolutionary contributions to
intersectional feminism, which question established ideas
about gender, race, and class. Angela Davis, on the other
hand, has been a vocal advocate for women’s rights,
particularly within the context of Black feminism, which
tackles the various forms of oppression that Black women
face.

35

5. film screening:

On February 2nd, 2023, I successfully organized a
film screening at Emily Carr University of Art + Design,
especially at the Emily Carr Students’ Unio. The purpose
of the event was to pay tribute to Black History Month,
and I achieved this by showcasing a film featuring one of
the Black artists, Jean-Michel Basquiat. The selected film
for the screening was “Jean-Michel Basquiat: The Radiant
Child.” I additionally crafted takeaway zines featuring a
selection of artworks by Basquiat. The zine comprised
eight pages and featured a poster on the reserve side,
incorporating a notable quote from the artist.

6. zine creation:

Formulating my DIY approach, zines often follow a doit-yourself ethos, allowing for creative expression and
accessibility towards my work. Zine can be distributed in
local communities, providing a tangible and personal way
to share information. To effectively convey my intended
message or concept, I try to incorporate design elements
and principles into my compositions. I try to make
compositions that are aesthetically pleasing, coherent,
and powerful by carefully choosing and arranging
visual components like color, typography, imagery, and
layout. In addition, I make an effort to make sure that my
compositions are pleasant, well-balanced, and visually
appealing to the viewer by following design principles
like balance, contrast, rhythm, and emphasis. In the end,
applying these design concepts and elements improves
my work’s overall efficacy and aesthetic quality and
makes it easier for me to communicate my ideas in an
engaging and clear manner. Zine culture is a thriving and
varied underground movement distinguished by its DIY
(do-it-yourself) attitude, anti-capitalistic principles, and
emphasis on counter-narratives. Zines are independently
published, frequently on a shoestring, and cover a
broad spectrum of subjects, such as art, politics, social
commentary, personal narratives, and more. They provide
a forum for underrepresented voices and viewpoints
that the media may ignore or misrepresent. Jennifer

36

White Johnson is a figure who has made a significant

individuals. These spaces foster solidarity, mutual

contribution to zine culture.

support, and creative exchange, contributing to the

Jennifer White Johnson: As an artist, educator, and zine

vibrancy and resilience of zine culture.

maker, Jennifer White Johnson has been instrumental

Overall, zine culture represents a grassroots movement

in advocating for diversity, inclusion, and social justice

for social change and cultural transformation, offering a

within zine culture. Her work often explores themes

space for marginalized voices to be heard, celebrated,

of race, identity, and representation, challenging

and empowered. Figures like Jennifer White Johnson

dominant narratives and stereotypes. Through her zines,

play a crucial role in shaping and advancing this

workshops, and community engagement efforts, Johnson

movement, inspiring others to join the struggle for a

empowers marginalized individuals to share their stories

more just, inclusive, and equitable world.

and reclaim their voices.
Zine culture, with its DIY ethos and grassroots approach,
offers a powerful alternative to mainstream media
and consumer culture. By prioritizing self-expression,
community collaboration, and accessibility, zines
challenge the commodification of art and information,
promoting a more democratic and inclusive model of
cultural production.
Key features of zine culture include:
•

Anti-capitalism: Zine culture often rejects the profitdriven motives of mainstream publishing, instead
prioritizing creative expression, personal empowerment,
and community building. By embracing DIY methods and
grassroots distribution channels, zines subvert capitalist
structures and promote alternative modes of cultural
production.

•

Counter Narratives: Zines provide a platform for
marginalized voices and perspectives that are often
marginalized or misrepresented in mainstream media.
From personal stories of resilience and resistance to
critical analyses of social issues, zines offer alternative
narratives that challenge dominant discourses and
empower marginalized communities.

•

Community Engagement: Zine culture is inherently
collaborative and community-oriented, with zine makers
often organizing workshops, zine fairs, and other events

37

to share their work and connect with like-minded

7. community
engagement:

Community Engagement serves as a cornerstone for
building connections, fostering dialogue, and cultivating
enriching experiences within shared spaces. My journey
in community involvement began within the vibrant setting
of Emily Carr University of Art + Design. Organizing
events centered around Black History Month provided an
exceptional avenue for connecting with the community,
particularly within an environment dedicated to art and
design. My goal extends beyond mere celebration;
I aspire to delve deeper into the narratives of Black
designers, exploring their creative journeys and unique
artistic styles.
Through these endeavors, my aim is not only to
commemorate Black History Month but also to ignite
conversations, fuel creativity, and nurture a strong sense
of camaraderie among both students and faculty at Emily
Carr University. This initiative underscores the profound
impact of community engagement, as it creates inclusive
spaces conducive to dialogue, celebration, and collective
learning within academic institutions.

38

39

manifestation.
field of practice:

My research delves into the expressive societal roles
of black women, particularly in Western contexts, going
beyond a narrow focus solely on their representation
within the design industry. Given my background in
graphic design, an inherent requirement in my field is the
experimental approach. My creativity, expressed through
design, serves as a reflection of my emotions and my
chosen mode of communication. Typography, in particular,
emerges as a significant player in the realm of exploration.
Throughout my Master’s degree journey, a focal point
of my exploration has been experimental typography
within editorial design. When I mention “editorial,” I am
referring to print media such as zines, posters, and
booklets that visually encapsulate the current state of my
research. Zines, in particular, have provided an unbridled
platform for my self-expression, unencumbered by the
constraints of traditional publishing. They afford me the
freedom to share my thoughts, stories, artwork, and
opinions. Historically, zine-making has been a vehicle for
subversive or activist purposes. These DIY (do-it-yourself)
publications can function as forums for debating current
events, challenging the prevailing norms, or advocating
for social and political change.

My cultural heritage pulses with vitality. As a visual
designer, I infuse my work with the richness of my African
aesthetic, challenging the prevailing Eurocentric design
norms. Typography has become my medium for verbal
and visual expression, allowing me to question and
redefine. In the realm of experimental typography, I wield
loud and bold typefaces, conveying powerful messages
through the use of san serifs and decorative type. This
creative process becomes a dynamic exploration of
my identity and a bold departure from the conventional
design landscape

40

process work

2022
2023
2024
41

1. the strong
black woman:

WHO IS THE STRONG BLACK WOMAN?
a. The Strong Black Woman. Society has created
this norm that “THE STRONG BLACK WOMAN” is
intimidating, always mad never smiles, cannot be social,
can not be themselves. As a black woman, I want to set
something straight, we hate being called “THE STRONG
BLACK WOMAN”.
THE SYNDROME OF THE STRONG BLACK WOMAN:
b. In response to systemic racism, Black women and
African American culture have for generations created the

2022

persona of the Strong Black Woman, a woman motivated
by service and sacrifice, who handles, manages, and
overcomes any problem, any obstacle. The syndrome
expects Black women to be the primary problem solvers
and caregivers for everyone in their lives, and never
bother with their pain.

42

Kelsi 1 filled
KELSI is a graffiti-inspired bubble style font available
exclusively in uppercase letters. This font offers both
solid and outlined version of the alphabet. It is freely
available for both person and commercial use.

Kelsi 1 outlined
KELSI is a graffiti-inspired bubble style font available exclusively in uppercase letters. This font offers both solid
and outlined version of the alphabet. It is freely available
for both person and commercial use.

Forma DJR Display
Originally released in 1968, Forma was the Italian type
foundry Nebiolo’s answer to Helvetica. It was created
by a team of eight designers, led by the legendary Aldo
Novarese, that Nebiolo assembled to design a more
mature and humane neo-grotesque. As a result, Forma’s
rationality is tempered by its warmth, and its trademark
single-story a sets it apart from the rest. Adobe Fonts
includes this family for both desktop and web use.

43

Aa

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj
Kk Ll Mm Nn Oo Pp Qq Rr Ss
Tt Uu Vv Ww Xx Yy Zz

Aa
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj
Kk Ll Mm Nn Oo Pp Qq Rr Ss
Tt Uu Vv Ww Xx Yy Zz

Aa

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
Ww Xx Yy Zz

Fig. 14: The Strong Black Woman: Prompt 2: The Discourse (2022)

44

Fig. 15: The Strong Black Woman - Q-cards: Prompt 2: The Discourse (2022)

45

2. meet her.
she is me.
i am her.

MEET HER. SHE IS ME. I AM HER. This is a zine that is
a starting point for my thesis work. It is a representation
of black women aesthetics like their hair and nail designs.
My inquiry has been Inspired by my previous prompt “The
Strong Black Woman”, as well as a representation of
myself, being a black woman.
The Process: I made this my zine to be editorial and
aesthetic to the eye. I wanted to create a composition
that consisted of both decorative type and san serif
typefaces. The zine concept was to experiment with
imagery and typography. I did not want a lot of body
text, but rather a flip-through zine with enough subject
matter. The idea behind this zine is the beauty aesthetic
of the black female. A great example would be Flo-Jo.
Biased beauty standards never stopped Florence Griffith
Joyner (Flo-Jo) from becoming the fastest woman in the
world, running the 100-meter race in 10.49 seconds – a
record that still stands today- while rocking her trademark
long, colourful nails. Flo-jo’s look was a wink at outdated
stereotypes about Black culture, the same culture that
was once vilified but is now so often appropriated. Acrylic
nails became a part of my identity, just as Flo-Jo’s did.
Every nail appointment provided a new opportunity for
me to express my creativity and honour my younger self,

2022

who’d been too afraid to perpetuate the ghetto stereotype
prescribed to Black women who were too fabulous for
stale basic naysayers to understand. I don’t wear my
stiletto or coffin acrylic nails as an act of rebellion. But as
a reminder that Black women are the moment and will
forever be the matter.

46

Aa

Aa Bb Cc Dd Ee

Ff Gg Hh Ii Jj Kk
Ll Mm Nn Oo Pp
Qq Rr Ss Tt Uu

Vv Ww Xx Yy Zz

Aston Script Pro
Aston Script is a calligraphy script font that comes
with very beautiful changing characters, a kind of
classic decorative copper script with a modern
touch, designed with high detail to bring stylish
elegance. Aston Script is attractive as a typeface
that is smooth, clean, feminine, sensual, glamorous, simple and very easy to read, because there
are many fancy letter connections. I also offer a
number of viable style alternatives for many letters.

Aa
Aa Bb Cc Dd Ee Ff Gg Hh
Ii Jj Kk Ll Mm Nn Oo Pp
Qq Rr Ss Tt Uu Vv Ww
Xx Yy Zz
47

CHEEE - CHAARLEEE
Cheee is a display typeface designed by James
Edmondson and Alexis Boscariol. Adobe Fonts
includes this family for both desktop and web use

Fig. 16: Meet her. She is Me. I am Her Zine- Prompt 4: Inquiry(2023)

48

Fig. 17: Meet her. She is Me. I am Her - Prompt 4: Process Work(2023)

49

Fig. 18: Meet her. She is Me. I am Her - Prompt 4: Inquiry (2023)

50

51

3. typographic
call &response

2023

One of the projects I worked on over the term is called
Typographic Call and Response. I was inspired by a book
called Strikethrough: Typographic Messages of Protest.
The graphic book showcases protest signs from the
United States of America from the nineteenth through the
twenty-first century. This project composition was in the
form of a zine that was a collection of protest posters that
have been typeset and given meaning, which I call the
Typographic Call and Response. From the book I picked 6
graphic posters that reflect more with:

52

Aa

Editorial New Ultralight
Editorial New is a serif typeface designed by Mathieu
Desjardins and published through Pangram Pangram
in 2019. The design features condensed proportions
and brings to mind the style of narrow serif that was
popular during the 1980s and 1990s, such as Times
New Roman condensed and Apple’s version of ITC
Garamond. The family is available in eight weights
with matching italics.

Estrella Early
Estrella Typeface has a display font with expressive curves, so it looks playful and fun. This type is
inspired by 70’s typefaces with psychedelic touches and groovy vibes. Estrella is a new free display
font designed by Uncarving Nation. Estrella Typeface is free for personal & commercial use.

Degular Display
Degular is a sans-serif typeface designed by
James Edmondson and published through OH no
Type Co in 2020. The family is available in three
optical sizes, each in seven weights with matching
italics. Adobe Fonts includes this family for both
desktop and web use

53

Aa Bb Cc Dd Ee Ff Gg
Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq
Rr Ss Tt Uu Vv Ww Xx Yy Zz

Aa
Aa Bb Cc Dd Ee Ff Gg Hh Ii
Jj Kk Ll Mm Nn Oo Pp Qq Rr
Ss Tt Uu Vv Ww Xx Yy Zz

Aa
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj
Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt
Uu Vv Ww Xx Yy Zz

Fig. 19: Typographic Call & Response
Zine(2023)

54

This poster champions natural haor using
completely orginal lettering, with “BLACK” spelled
out in an AFRO hairstyle and “is beautiful” rendered
in letterform composed of repeating minimalist arcs.

This poster was created for an International
Women’s Day issue of the socialist publication
People’s World. The poster urges the relaese of
activist Angela Davis, who was imprisoned for over
a year after guns she purchased were used by
others in a courthouse shootout.

A dynamtic typographic treatment - explores
various word realtionships in a tessellating op art
pattern in the Black liberation colours of red, black
and green.

RIGHT ON! reads like a documenatry film in
paperback form. The typesetting was assembled
in a compilation that defied typographic norms and
mimcked mutlimedia.

Archie Boston, a Black art director illustrators a
typographic timeline of racial epithets. He uses
different typefaces that were popular across U.S.
history to set the names (often slurs) used by white
peole to describe Black Americans.

55

The four words visually scream a
declaration and with it a demand.
The text was set in Plain Gothic NO.
6243 (a wood type form the Hamilton
Manufacturing Company), with “am”
empathically underlined.

Fig. 20

Resist!

José Vasquez Johnson, Black Is Beautiful,
cica 1971,offset, 23 x 17 inches (58.5 x 43 cm),
San Franciso.

Fig. 22

Teach!

David L. Burke (designer), Maryl Levine and John
Naisbitt (authors), Right On!: A
Documentary of Student Protest, 1970, offset, 71/8 x 41/4
inches (18 x 11 cm), New York

Fig. 24

Resist!

Archie Boston, We’ve Come Too Far to
Turn Around, 1991, offset, 16 x 12 inches
(40.5 x 30.5 cm), New York

Fig. 21

Resist!

International Union of Students, Freedon for Angela Davis, 1971, offset, 221/2 x 17 inches (57 x
43 cm), San Francisco.

Fig. 23

NOW!
Demanding
Black Liberation
with Typography

Faith Ringgold, Women Free Angela, 1971,
screen print, 281/4 x 191/2 inches (72 x 49.5 cm),
New York, Courtesy of ACA Galleries, New York.

Fig. 25

Strike!

Unknown designer for the American Federation of State,
Country, and Municiple Employees (AFSCME), I Am a
Man! 1968, letterpress, 211/2 x 14 inches (54.5 x 35.5 cm),
Memphis, Tennessee. Collection of the Smitnsonian National
Mesuem oF African American History and Culture

56

57

4. you so black

This project had me asking myself “Why do we use
typography, what is the purpose of typography? Is there
a purpose to typography, do people understand it? what
does typography me to as a designer?” This project was
inspired by Theresa tha SONGBIRD, a spoken word
called “YOU SO BLACK”. From the spoken word, I hear
the praise of being, I hear the praise of the colour Black,
and I hear the presence of being Black. From the spoken
word I captured 3 parts “Black is Touch, Black is Hard to
do”, “Black is Beautiful, Black & Bless & Highly Favoured”.
These words resonated deeply with me, sparking a
profound reflection on how I want to portray Black women.

Inspired by these sentiments, I embarked on a creative
journey to craft a series of posters featuring the iconic
Angela Davis. Davis epitomizes the essence of blackness,
embodying resilience, intellect, and empowerment. To
amplify the impact of the message, I experimented with
playful and ornate typefaces, aiming to foster greater
engagement with the subject matter. I pivoted towards
a mix of display typography, serifs, and sans serifs,
accompanied by a vibrant color palette. The inclusion
of a bold neon green hue in the typesetting introduced
elements of repetition, rhythm, and cohesion. Against
a backdrop reminiscent of a cloudy sky, symbolizing

2023

unity and liberation, the juxtaposition of Black and white
elements in the composition evoked a sense of intrigue
and contemplation. Through this visual storytelling, I
endeavor to provoke thought and inspire dialogue on the
multifaceted experiences of Black women in society.

58

Aa Bb Cc Dd Ee Ff Gg
Hh Ii Jj Kk Ll Mm Nn
Oo Pp Qq Rr Ss Tt Uu Vv
Ww Xx Yy Zz

Aa Bb Cc Dd Ee Ff Gg
Hh Ii Jj Kk Ll Mm Nn
Oo Pp Qq Rr Ss Tt Uu Vv
Ww Xx Yy Zz

Aa Bb Cc Dd Ee Ff Gg
Hh Ii Jj Kk Ll Mm Nn Oo
Pp Qq Rr Ss Tt Uu Vv Ww
Xx Yy Zz

59

Editorial New Ultralight

Aa

Aa
Cheee Conshread

Degular Display

Aa

Fig. 26

Black is Tough. Black is Hard, To DoPoster. 11 x 17, date 2023

60

Fig. 27

61

Black is Adjective, Adverb, Colour &
Noun Poster. 11 x 17, date 2023

Fig. 28

Black & Beautiful, Black & Blessed, & Highly
Favoured Poster. 11 x 17, date 2023

62

63

5. the
fundamental
guide to being
a f*ucking
black woman

My goal for this project was to write a 250-word story that
closely related to the subject of my research. Choosing
a lyrical style, I tried to craft a story that was closely
related to both my personal experience and subject
research. My narrative contained personal reflections
that made it a moving illustration of the topics being
studied. This story served as my inspiration, and I went
on to create an 8-page zine with a format that was
primarily written material and printed using a risograph.
I avoided using any images and instead concentrated
only on the text, using a variety of typographic styles
to create an eye-catching composition. I embraced the
interaction of sans serifs, serifs, and calligraphy in this
project, with each typeface adding to the overall concepts
of rhythm and balance. By means of cautious selection
and placement of typographic components, my goal was
to attain aesthetic balance, guaranteeing the reader’s
accessibility. In order to create a dynamic visual flow,
I also tried to infuse the composition with a sense of
rhythm by giving each typeface its own distinct shape

2023

and importance. Ultimately, this zine served as both a
medium for storytelling and an exploration of typographic
design principles. By engaging with diverse typographic
styles, I endeavored to evoke emotional resonance and
foster deeper connections with the thematic content of the
project.

64

the black woman.
She keeps fighting the temptation to scream out her emotions. She is being
so dramatic that she is unable to feel anything. She is being forceful or
fairly loud, therefore she is unable to explain herself or talk in a high
level. She chuckles as she perceives their fear of her. What exactly are
they frightened of? Why are they so hostile toward me? They claim that I
disturb them. I was unaware. How very dare you touch my hair. Did this
girl truly claim that her race as a “POC” allows her to use the NIGGER?
I may have misheard you, so repeat yourself. They hate seeing her stand
firm. She never preys for pity because pity is a display of weakness.
She’s been at work and got the badge of honour. She no longer desires
conflict, preferring to exude confidence as the strong black woman that
she is. They decided not to recognize my strengths. They opted to attack
me first and pretend they were the victim. The fakes and pity seekers
are all around her. Oh, how she loves just being a black woman. As Bell
Hooks states in her ‘Ain’t I a Woman: black women and feminism,’ ‘The
stereotypical image of the “strong” black woman was no longer seen as
dehumanizing, it became the new badge of black female glory.” And I
must say, I wear this badge proudly. It’s the blood that flows through me.
So, yes, I am that strong black woman.

65

poem

Fig. 30: The Fundamental Guide to
Being a F*ucking Black Woman Open Studio (2023)

66

I may have misheard you, so repeat yourself.
She’s been at work and got the badge of
honour. She no longer desires conflict,
preferring to exude confidence as the
strong black woman that she is. They
decided not to recognize my strengths.

How very dare you touch my hair.

WHAT TF?
ZINE VOLUME .01

Introducing an impassioned black woman
as she candidly expresses her experiences
and emotions as a black woman. Through
her narrative, she delves into the challenges
and essential aspects of simply being a
black woman. She conveys her exhaustion
with the situation.

BLACK WOMAN.

THE FUNDAMENT GUIDE
TO BEING A F*CKING

BLACK WOMAN.
Introducing an impassioned black woman
as she candidly expresses her experiences
and emotions as a black woman. Through
her narrative, she delves into the challenges
and essential aspects of simply being a
black woman. She conveys her exhaustion
with the situation.
ZINE VOLUME .01

Oh how she loves just being a black woman. As
Bell Hooks states in her 'Ain’t I a Woman: black
women and feminism,' 'The stereotypical image
of the “strong” black woman was no longer
seen as dehumanizing, it became the new
badge of black female glory.”

She is being forceful or fairly loud, therefore she is
unable to explain herself or talk in a high level. She
chuckles as she perceives their fear of her. What
exactly are they frightened of? Why are they so
hostile toward me? They claim that I disturb them. I
was unaware.
She keeps fighting the temptation to scream out her
emotions. She is being so dramatic that she is
unable to feel anything.

NAT KOWO.
She’s been at work and got the badge of
honour. She no longer desires conflict,
preferring to exude confidence as the
strong black woman that she is. They
decided not to recognize my strengths.

I may have misheard you, so repeat yourself.
They hate seeing her stand firm. She never preys for
pity because pity is a display of weakness.

page 4

page 3

page 5

She keeps fighting the temptation to scream out her
emotions. She is being so dramatic that she is
unable to feel anything.

And I must say, I
wear this badge
proudly. It’s the
blood that flows
through me.
So, yes I am that
strong black
woman.


THE FUNDAMENT GUIDE
TO BEING A F*CKING

How very dare you touch my hair.

NIGGER.

Did this girl truly claim that her race as a "POC"
allows her to say

page 2

NAT KOWO.

WHAT TF?
Did this girl truly claim that her race as a "POC"
allows her to say

NIGGER.

They opted to
attack me first and
pretend they were
the victim. The
fakes and pity
seekers are all
around her.

And I must say, I
wear this badge
proudly. It’s the
blood that flows
through me.
So, yes I am that
strong black
woman.


page 1

They hate seeing her stand firm. She never preys for
pity because pity is a display of weakness.

page 8

She is being forceful or fairly loud, therefore she is
unable to explain herself or talk in a high level. She
chuckles as she perceives their fear of her. What
exactly are they frightened of? Why are they so
hostile toward me? They claim that I disturb them. I
was unaware.

They opted to
attack me first and
pretend they were
the victim. The
fakes and pity
seekers are all
around her.
page 6

Fig. 31: The Fundamental Guide to Being a F*ucking Black Woman
Zine Layout (2023)

67

Oh how she loves just being a black woman. As
Bell Hooks states in her 'Ain’t I a Woman: black
women and feminism,' 'The stereotypical image
of the “strong” black woman was no longer
seen as dehumanizing, it became the new
badge of black female glory.”

page 7

6. black history
month sticker

During the commemoration of Black History Month in
2023, I crafted a series of vibrant stickers infused with the
symbolic colors of the occasion. Delving into the creative
process, I employed the technique of risograph printing
to bring these designs to life. The utilization of risograph
not only added a distinctive matte finish to the stickers but
also imbued them with a unique visual appeal. The choice
of incorporating these colors and employing risograph
was intentional, as it served to honor the rich heritage and
significance of Black History Month while simultaneously
elevating the aesthetic quality of the stickers.

2023

68

BLACK
HISTORY
MONTH

69

Fig. 32: BLACK HISTORY ,ONTH STICKERS IN USE (2023)

70

Neo Tetra Regular

Aa
Ee
Ii
Mm
Qq
Uu
Yy

Bb
Ff
Jj
Nn
Rr
Vv
Zz

Cc
Gg
Kk
Oo
Ss
Ww

Dd
Hh
Ll
Pp
Tt
Xx

All caps display font. Inspired by the extraordinary geometric abstractions of
Bauhaus, Neo Tetra is a typographic study that reimagines 26 letters, 10 numbers,
and 12 symbols as geometric forms comprised of primitive shapes. The Bauhaus
is one of the most influential movements in the history of design. With a focus on
structure and precision, its philosophy hypothesizes that clean lines and simple
shapes of geometric forms can create a sense of order, clarity, and efficiency. Due to
its abstract shapes, Neo Tetra is a display style font that works great for logos, large
text display with short text length. Currently the font is free for personal use only.

The construction of the glyphs can be summarized in
another way: Each character is divided into four parts,
and each part contains and only contains one of the
four following primitive shapes and their rotations:

71

Black is the color of the noble and distinguished race
to which we belong

Red is the color of the blood
which men must shed for
their redemption and liberty

Green is the color of the
luxuriant vegetation of our
Motherland

The color yellow, from the
Ethiopian flag, symbolizes justice, optimism, and
equality.

72

73

7. hey! hey!
it’s our month:
black history
month zine

To commemorate Black History Month (February 1-29,
2024), I created a mini zine that highlighted a few Black
women who have been particularly inspiring, especially
in today’s world. These individuals embody what I would
characterize as the epitome of resilience—the Strong
Black Woman. Their stories resonate with us, serving as
powerful reflections for Black women everywhere.

I aimed to design a zine cover that strikes a balance
between simplicity and intrigue. In crafting it, I delved into
compositions that integrate playful decorative typefaces
alongside bold sans serifs. This juxtaposition creates
a dynamic interplay, fostering a sense of curiosity and
making the cover visually captivating.

2024

74

Fig. 32: Hey! Hey! It’s Our Month Zine (Black HIstory Month (2024)

75

Fig. 32: Hey! Hey! It’s Our Month Zine Mock-up Print(2024)

76

Rabbit Hole Display

A totsl glyph set of 26, all in uppercase letters.
Rabbit Hole Display was designed by Tomasz
Pawluk a.k.a. Boafff and released via Type
Department in 2021.

Humane Varible Typeface

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu
Vv Ww Xx Yy Zz
Humane is a striking compressed, sans-serif display
typeface by Rajesh Rajput. It is super tall, super narrow
and has almost no contrast. Making it seem very confident,
rational and loud.

77

HAPPY BLACK HISTORY MONTH

MONTH

01 FEB 2024 - 29 FEB 2024

78

By scanning the QR code, you will be directed to a page featuring the women, detailing their identities and
accomplishments.*

- HEY! HEY! ITS OUR MONTH: HAPPY BLACK HISTORY MONTH. (2024). Meet the Women, 2024. https://
nkowo.myportfolio.com/meet-the-girls
79

8.5 in

CUT THROUGH

CUT THROUGH

11 in

CUT THROUGH

2 in

3 in

80

type details
For design projects, decorative typefaces are typically selected to create a certain mood, tone, or
style. However, there are other reasons as well. Decorative fonts, as opposed to more conventional or
functional typefaces, provide designers the chance to add individuality and flair to their work, resulting
in visually striking and memorable designs. These typefaces enable designers to express a sense of
originality and personality because they frequently have distinctive and complex letterforms, ranging
from sophisticated scripts to bold and fun styles. Decorative typefaces, whether employed in branding,
advertising, or graphic design, can offer a unique touch to the overall visual composition, assist draw
in the audience, and leave a lasting impression.
Additionally, decorative typefaces can strengthen a design project’s narrative or topic by acting as
effective storytelling instruments. As a designers I can successfully enhance the impact of the visual
communication by carefully picking a typeface that is in line with the concept or message being
expressed. By doing this, they can reinforce the intended emotions or concepts. The choice of
decorative typeface is crucial in molding the overall aesthetic and amplifying the design’s ability to
communicate, regardless of the intended emotion - nostalgia, sophistication, whimsy, or any other
combination of these. Using ornamental typefaces is ultimately motivated by the goal of producing
designs that are both visually striking and emotionally stirring, drawing in viewers.
I employ san serif typefaces well in addition to using playful/decorative types.
San serif typefaces are popular because of their simple, contemporary, and adaptable appearance,
which makes them ideal for a variety of design uses. San serif fonts have a simpler, more streamlined
design with clean lines and consistent stroke widths, in contrast to serif typefaces, which have little
decorative flourishes, or “serifs,” at the ends of strokes. San serif typefaces are very readable and
readable because to their minimalistic style, especially at small sizes or on digital devices. Because of
this, they are widely utilized in print documents, computer interfaces, and signage where readability
and clarity are crucial.

81

82

conclusion
In my exploration, I have employed a diverse range of methods, including interviews, literature
reviews, finding role models, precedence reviews, making zines, holding film screenings, and
conducting workshops. This multifaceted approach has allowed me to gather information
comprehensively and engage deeply with the subject matter. Through these methods, I have
achieved a nuanced understanding that extends beyond conventional academic research.
My research journey has been characterized by a commitment to embracing diverse perspectives,
historical contexts, and personal insights. By leveraging a do-it-yourself ethos and employing various
mediums such as zines and film screenings, I have strived to make information accessible and
engaging to local communities. This approach has facilitated meaningful dialogue and collaboration,
enriching both my research process and the communities with whom I have interacted.
Furthermore, the exploration of role models and their life stories has provided me with invaluable
lessons and inspiration as a designer. By examining the experiences and achievements of individuals
who have navigated spaces where they are underrepresented, I have gained insight into the
possibilities and challenges inherent in design practice.
Importantly, I recognize that I cannot separate other aspects of my identity from my identity as a
student or a designer. The concept of intersectionality has been and continues to be an integral part
of my learning journey within my work. By acknowledging and embracing the complexities of identity,
I have deepened my understanding of how power dynamics, privilege, and marginalization intersect
within design contexts.
As I move forward, I remain committed to centering intersectional perspectives in my practice and
advocating for inclusivity, representation, and social justice within the design field. I am grateful for the
insights, experiences, and relationships that have shaped my research journey, and I look forward to
continuing this work in collaboration with diverse communities and voices.

83

future
direction

Going forward, I have a strong desire to further my research in order to increase the number of
Black women who work in the design industry. My main focus will be on finding and putting into
practice efficient ways to incorporate Black design perspectives into academic syllabuses, as well
as on promoting their inclusion in course outlines and learning materials. This project is extremely
aligned with my commitment to fostering inclusivity and diversity in the design community, and I am
truly thrilled about the opportunity to drive significant change in this field. I also want to look into the
possibility of designing a custom typeface that perfectly fits the particular needs and visual style of
my designs. This project serves as an additional channel for my innovation and advancement of
design practice.

84

Following my defense presentation, the feedback
from my defense panel proved invaluable, offering a
wealth of insightful questions and advice regarding
my work. Among them, Terresa Moses, my external
evaluator, provided particularly noteworthy insights
into my topic. She emphasized the significance of
delving deeper into the nuances of Black identity and
the concept of Blackness, urging me to explore how
capitalism intersects with the experiences of Black
women. Additionally, she highlighted the effectiveness
of my utilization of zine creation as a medium for
communication and expression, prompting further
exploration into its potential within my research
context. The feedback and guidance received from
Terresa Moses and the defense panel as a whole
served to enrich my understanding and approach to
my research, guiding me towards deeper exploration
and refinement in key areas.

postpresentation
85

appendix
I: Can you tell us about your experience as a female DJ
in a male-dominated industry?

N: Sometimes the boys treat me differently because I

am a lady, which works as a positive and a negative.

In the positive sense, you’re respected a bit more

differently because you’re a woman. But then on the

other hand, the negative side of that is you have to
constantly keep showing people that you know what

you’re doing, you’re in control and you’re able to

handle someone who’s uneducated about how things are

run or how things work. So it has its pros and cons,

in a sense that there is some male support, but then

there’s also that anti-support in a sense of, do you
as a woman know how to handle yourself in such an

industry? And it becomes tough. And why? I say that

because women are put under a lot more pressure than

men. From your skill, you’re judged on whether you can

showcase the skill or not, and you are also judged on

your appearance. And then last but not least, you’re

interview with Natsumi
Miyata (DJ King Her)

(N = Natsumi, age 30, female; I = Interviewer

judged on your character. As a woman, are you a more

nurturing woman or are you more of a materialistic type

of woman? Or is it ever enough?

I: Have you ever faced discrimination or sexism within
this industry that you’re in and how have you dealt
with it?

N: You see, discrimination falls under a lot of

different aspects, you’ve got discrimination in the

same gender side of things, discrimination in terms of

race, then you’ve got discrimination in terms of social
class. Where are you in the industry? Underground

artist, someone who is a popular face of discrimination.

86

I: I’ve been reading a book by Bell Hooks, she is a

phenomenal author and feminist and she talks about the
black woman and feminism. In her book, Ain’t I A Woman

- Black Woman & Feminisn, she states “the stereotypical
image of the “strong” black woman has no longer been
seen as dehumanizing. It became a new badge for the

black female glory”. So my question to you…..ARE YOU A

STRONG BLACK WOMAN?

A: Absolutely. Absolutely. I mentioned the world at

large will address me in this nature. And you are not
wrong because my home mothers, my foo mothers, they

were strong women. To love is to know. And to know is

to understand these are my strengths which also happen
to be my weaknesses. I am a strong black woman but we

face our struggles but we keep going.

I: what ways do you draw inspiration from your cultural
heritage and how do you see it come to a more diverse

87

(A = Ammara, age 36, female; I = Interviewer)

interview with
Ammara Brown

music industry?

A: So I, as I said in the beginning of the interview,

the melting pots for me were just coming from

everywhere. And Where language is concerned, where the
of how production is happening. Some of the rhythmical

accents. There’s so much to draw from, you know, so. In

this regard, it was just an inevitable, an inevitable
part of how I create. There’s an essence behind, the

communicating and how we express it, right? I listen

to the rhythmic accents and I’m just like, pick up

the, take a cut. You’re in polyrhythmic. I’m just like,
these are very much African influences in how they

approach the rhythm. That’s the beauty of art. You know
what I mean? That’s the beauty of art.

reference
•

Tv, N. (n.d.). Ammara Brown, musician Preserving a family legacy! Nakiso TV. https://www.
nakiso.tv/2020/12/ammara-brown-musician-preserving-family.html

•

Beyoncé. (n.d.). Beyoncé. https://www.beyonce.com/

•

An exhibition by Black Artists | Communication Arts. (2021, June 25). Communication Arts.
https://www.commarts.com/columns/an-exhibition-by-black-artists

•

Sanchez, C. (2024, February 21). Serena Williams’s molten sequined gown proves why she was
named a fashion icon. Harper’s BAZAAR. https://www.harpersbazaar.com/celebrity/latest/
a45765087/serena-williams-black-gown-cfda-awards-2023/

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Boomer, L. (2024, January 29). Life Story: Angela Davis - Women & the American Story.
Women & the American Story. https://wams.nyhistory.org/growth-and-turmoil/feminismand-the-backlash/angela-davis/

•

Popova, M. (2023, November 4). bell hooks on Love. The Marginalian. https://www.
themarginalian.org/2023/11/03/bell-hooks-all-about-love/

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Berry, A. H., Collie, K., Laker, P. A., Noel, L., Rittner, J., & Walters, K. (2022). The Black
experience in design: Identity, Expression & Reflection. Simon and Schuster.

•

Hooks, B. (2014b). Ain’t I a woman: Black Women and Feminism. Routledge.

•

Hooks, B. (2014a). Sisters of the Yam: Black Women and Self-Recovery. Routledge.

•

Lang, C. (2021, June 10). Keeping Up with the Kardashians Is Ending. But Their Exploitation
of Black Women’s Aesthetics Continues. TIME. https://time.com/6072750/kardashiansblackfishing-appropriation/

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Bezuneh, H. (2022, January 14). It’s time we talk about blackfishing - Ms. magazine. Ms.
Magazine. https://msmagazine.com/2022/01/13/blackfishing-black-culture-appropriation/

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Wikipedia contributors. (2024, March 8). Goffal. Wikipedia. https://en.wikipedia.org/wiki/
Goffal

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Libraries, C. U. (1970, January 1). The Goffal speaks: Coloured ideology and the perpetuation
of a category in postcolonial Zimbabwe. Academic Commons. https://academiccommons.
columbia.edu/doi/10.7916/D8T72QNV

•

HEY! HEY! ITS OUR MONTH: HAPPY BLACK HISTORY MONTH. (2024). Meet the
Women, 2024. https://nkowo.myportfolio.com/meet-the-girls

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•

Pimp my Type. (2023, September 19). Humane - Pimp my Type. Pimp My Type. https://
pimpmytype.com/font/humane/

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Degular font Combinations & Free Alternatives · Typewolf. (n.d.). Typewolf. https://www.
typewolf.com/degular

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Aston Script Pro. (n.d.). https://www.myfonts.com/collections/aston-script-font-trf

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Cheee. (n.d.). OH No Type Company. https://ohnotype.co/fonts/cheee

•

Ross, D. J. (n.d.). Forma DJR. David Jonathan Ross. https://djr.com/forma

•

Editorial New - Free to try font – Pangram Pangram Foundry. (n.d.). https://
pangrampangram.com/products/editorial-new

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Befonts - Download free fonts. (2024, February 16). Estrella Typeface. Download Free Fonts.
https://befonts.com/estrella-typeface.html

•

Kelsi - Free Graffiti style Bubble Font. (n.d.). Pixel Surplus. https://pixelsurplus.com/products/
kelsi-free-graffiti-style-bubble-font

90