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Lucille Tenazas Analysis

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Lucille Tenazas: The Cultural Nomad Lucille Tenazas is certainly the kind of person who welcomes all sorts of experiences with open arms and lets them sink into her mind and feelings and purify her personality. All bits of her experiences, particularly those with a cultural and social aspect, have turned her into an exceptional figure, a figure that is respectable to everyone. Lucille was born in 1953 in The Philippines and raised in Manila, where she obtained her BFA. In 1973, she moved to the United States and began her studies in California College of Arts and Crafts (now CCA). Lucille Tenazas’s migration to the US was quite simultaneous with the period when modernist ideas, of which minimalism and the Swiss Style were integral parts, were being called into question by intellectuals and the seeds of postmodernism were being developed. In the field of design, another event also paved the way for the encounter with postmodern ideas: the development of technology and the replacement of the analog production with the digital world. During this period, many designers …show more content…

The analytical side to her typographic experiments, where images and text interweave and bounce off one another, and where multiple readings are deliberately engineered, is not only beautiful, but also intellectual and heartfelt. Lucille’s work exemplifies an interpretation of linguistic theory into design, where her translation of original ideas into the simple language of words and pictures, combined with her formidable skills as a form-maker, produces unforgettable works. Lucille’s approach to graphic design requires inviting all audience to join the interpretation of the design, in all of her work, including identity systems, posters, brochures and books. In other words, Lucille’s works do not belong to her. She shares her ideas with all those who see them and think about

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Jewett writes, she notices the feelings Jewett portrays with her diction and writes it in her own essay, “Miss. Jewett”. In Cather’s own words she writes, “One can, as it were, watch in process the two kind of making: the first, which is full of perception and feeling but rather fluid and formless; the second, which is tightly built and significant in design. The design is, indeed, so happy, so right, that it seems inevitable; the design is the story and the story is the design” (1). This passage from the essay, “Miss Jewett”, justifies how diction is used to create art in writing. Willa Cather uses words like, “design”, “full of perception and feeling” and “two kinds of making”, to justify how authors’ have the ability to express their feelings through their writing.

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