I am a graphic designer who started creative problem solving and Art at a very young age and grew throughout my education at Dominican Convent School in Harare, with the support of my family. I attended Zimbabwe Institute of Vigital Arts (ZIVA) where I honed my skills through a two year Graphic Design and New media Diploma programme, mentored by Professor Saki Mafundikwa, and graduating in 2012, becoming the youngest and overall second best student. During the same programme, my designs were selected for the SOUL Trust Poster design competition as well as a book cover design for Simudza Zimbabwe Competition. Most of my designs were type inspired. Subsequently, in order to gain as much experience and exposure as I could, I acquired a Bachelor of Arts Degree in Graphic Design (2016) and Bachelor of Arts Honours Degree in Visual Communication Design, specialising in Graphic Design at Greenside Design Centre, Johannesburg (2017).

My passion for typography led me to being the first Zimbabwean awarded membership to the International Society of Type Designers for my project titled, “The life’s work of Adrian Frutiger” in 2016. My project, Reviving the “Bantu Symbol Writing” into contemporary Visual culture received three awards from the two most prestigious creative industry and brand communication awards for Africa and the Middle East: a Gold Loerie, a Gold Pendoring as well as a Grand Prix Pendoring award.

My project, the only student entry to take Gold at the Loeries 2017, became the overall winner of the student category across Africa. In May 2018 I exhibited my project at the Harare International Festival of the Arts, and in October 2018 a rebrand project I worked on during my internship at Grid Worldwide TBWA won a Bronze award at the Loeries 2018.

I am particularly interested in the potential of type design in contemporary African society, where traditional cultural practices often become a staged authenticity in which the history of meaning in the objects and designs is often lost, sometimes even to the producers themselves. It is in this way that important indigenous systems have been transfigured in contemporary society merely as elements of decorative art, or a curio for mass consumption. I can see the potential of type design to halt this waste and abandon of our most valuable cultural resources.

Owing to my undying passion for Afrika, in February 2018 I co-founded Nhaka Creative Agency, which aims to fill the gap in the market of producing edutainment material (edutainment and educational). Not only is this material innovative, but it’s also authentic and significant to Afrikans, their identity, and cultural heritage.

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