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Biography about Lucille Tenazas
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Sources
• Pipes, Alan. Lucille Tenazas.Pro-duction for Graphic Designers. Forth Edition. 2005. The Overlook Press. New York, New York.
• Eye Magazine. Issue 17, page 67-68. <http://www.eyemagazine.com/fea-ture.php?id=49&fid=389>
• Biographpy of Lucille Tenazas. Taken from Tenazas Design.com. November 5, 2007. <http://www.tenazasdesign.com>
(C) 2007 by Atnevon Art Publishing. Images courta-sy of AIGA.org. This book has been printed with no intention of publishing, and used with educational intent only. No person or persons has permission to reuse and material in this book without consent of the author and/or publisher. Publishing will result in lawsuit with a penalty of $100,000 and/or 15 years in prison.
First Edition Printed December 7th, 2007.Charlotte, NC
All materials are used with permission by the University of North Carolina Charlotte. All materials
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...and all my
friends and loved
ones who de-
serves some form
of credit. Yea,
you know who you
are in some way,
but I didn’t feel
like putting your
names in my book.
It would take a
lot of paper, and
that hurts Mother
Earth.
Mom, Dad, John, Chelsea, Grandma and Grand-pa, Brooke, Mama and Papa E, Nana and Papa, Erika, Robby, Zach, Will, Brandon, Adam, Mr. B...
...Dave- For never let-
ting me use Papayrus,
or designing with Comic
Sans...
...Dave- For never letting me use Papayrus,or designing with Comic Sans...
...and all my friends and loved ones who deserves some form of credit. Yea, you know who you are in some way, but I didn’t feel like putting your names in my book. It would take a lot of paper, and that hurts Mother Earth.
Mom, Dad, John, Chelsea, Grandma and Grand-pa, Brooke, Mama and Papa E, Nana and Papa, Erika, Robby, Zach, Will, Brandon, Adam, Mr. B...
For:
Lucille Tenazas is an award winning Graphic Designer. Based from her studios in the United States, Lucille has become world known for her unique style of abstract form and Language bar-rier subjectivity.
Lucille has won many awards, including the National Design Award in Communications Design by Smithson Cooper-Hewitt National Design Museum in 2002. In addition to being a designer, she has served as the A.I.G.A President from 1996-1998, and sits as an asso-ciate professor of the MFA program at California College of the Arts (CCA).
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Poster for California College of Arts and Craft graduate program 1999. Lucille Tenazas. 1999.
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Lucille Tenazas was born in 1953, raised in the Philippines. Due to the heavy presence of the United States military, she learned much of the western culture. Since she studied in Philippines, her focus was more on fine arts. Later she went to California to do her after graduate studies.
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First she applied, and was rejected on her first try from Cranbrook Academy of Art. She then applied to California College of Arts and Crafts to build a stringer portfolio. Here she learned more of her gesture and expressive styles that she applied to later when accepted to Cranbrook. Many of her professors and instructors had noted her style after gradua-
tion for having an elegant formal resolution and abstract shape, not like her “type ‘n’
stripe” style of her fellow classmates.
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Lucille has been a Graphic Designer and owner and founder of the Tenazas Design Firm. She has worked 20 years in San Francisco, 1 year Rome, currently in NY/NJ. Tenazas mentions her style is often depicted of the California’s, with many allusions of geometric pattern, bright color, and formal resolution of the design elements. This style roots from her studies in America after her Philippians’ studies.
The Body. Lucille Tenazas and Todd Foreman. 1994
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Many of her clients are and include:
• San Francisco International Airport • San Francisco Museum of Museum of National Art • Stanford Univertiy Museum of Art • University of Cali – Berkley • National Endowment of the Arts • Chronicle Books • Metro Furniture • Champion Paper Corporation • San Francisco Jewish Film Festival • San Francisco Symphony
The Body. Lucille Tenazas and Todd Foreman. 1994
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Y“I’m not anti-technology. It’s more a question of what I have an affinity for. I do what I feel most comfortable doing”.
Moto Announcement, 1994. Tenazas Design (San Francisco, California). 1994.
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“I’m not anti-technology. It’s more a question of what I have an affinity for. I do what I feel most comfortable doing”.
“When I first came to the United States, my interest in English was in the form of verbal communication. My interest in the layers of language has evolved over the past 6 years”.
Many critics have stated that Lucille’s approach is conflicting with her commercial message. She responds to them stating that her design is to fulfill the needs of her clients as well as her creative ambitions. With her creative input and style, she is able to set her designs further apart from more tradi-tional commercial design. Tenazas believes it is possible to solve the client’s communi-cation, while also addressing her own lan-guage.
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Witness: Endangered Species of North America. Lucille Tenazas and Todd Foreman. 1994
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1992 Adopt-a-Book Poster. Tenazas Design (San Francisco, California)13
Lucille Tenaza’s style has been noted to deal often with the subject design of language and communication. She attributes this to her strug-gle of learning English as a second language. Lucille uses a pragmatic and poetic practice so that she may envelop a use of fluid and flexible approaches to design that is more human. Many critics have stated that Lucille’s approach is con-flicting with her commercial message. She re-sponds to them stating that her design is to fulfill the needs of her clients as well as her creative ambitions. With her creative input and style, she is able to set her designs further apart from more traditional commercial design. Tenazas believes it is possible to solve the client’s communication, while also addressing her own language.
Still Rooms & Excavations. Tenazas Design (San Francisco, California). 1997.
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“Rationality and Creativity. You can have both in the work. Design is the only field in which science and art are merged”.
When asked about why, she simply states that working by hand feels most comfortable and enables her to have more creative control of her work. Lucille Tenazas work thus reflects an achievement of an effective symbiosis of ratio-nality and creativity. Tenazas herself states:
“You can have both in the work. Design is the only field in which science and art are merged.”
Adopt-a-Book Bookplate Series. Tenazas Design (San Francisco, California). 1992
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