Proxy Magazine — Adobe vol.1 no.4:
Maybe it’s a paradox, but Lucille Tenazas doesn’t see it that way. As the principal of San Francisco’s Tenazas Design and founding chair of the graduate program in design at the California College of the Arts (formerly CCAC), she has long been known for her innovative typography. But rarely does she reach for anything but the most common classical typefaces.
“I think that the less expressive a typeface is, the more creative a designer can be with it.”
“ If you have a strong image you can use it to recontextualize the type and give it a character all its own.”
Tenazas’s award-winning work tends to do just that: juxtapose a powerful image with a meaningful arrangement
of type. By using subtle contrasts between serif and sans serif, as well as weight, she turns what’s sometimes considered bland type into powerful statements.
I believe that the test of a good designer is how well he or she deals with type,” she says.
“ Good typography should be intuitive and structural at the same time.”
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