Victoria Teniente

LinkedIn: Victoria Teniente

National Student Show & Conference 2026: Nominee for General Design/Poster with Rebecca Dugan
Graphis New Talent 2025: Honorable Mention | Website Design with Sami Reeves, Elizabeth Taylor

I’m a Dallas-based graphic designer focused on building brand identities that are thoughtful, intuitive, and human. Through the quiet power of design, I help shape how people connect with brands and the world around them. My process centers on exploring, experimenting, and refining until I create visual systems that are grounded and expressive. I’m constantly exploring new tools, methods, and visual languages to expand the way I approach identity work.
In addition to designing, I’m usually watching horror films, discovering new music, or getting my hands messy at the pottery wheel. I’m open to internships, studio roles, and freelance collaborations, and I’d love to create something meaningful together.

 Tiger Balm is currently most popular with older audiences and used as an everyday form of pain relief. There is an opportunity to appeal to a younger demographic, specifically those who are physically active or seeking to be. With its triangular tooth or claw shape and bright athletic photography, the new packaging is dynamic. Movement is a key aspect of each component, as well as fierce brand language. Tiger Balm is a brand of dualities: movement and rest, hot and cold treatment. This is what inspired the combination of hot and cold colors, sharp angles, and smooth curves.

With the goal of bringing awareness to endangered languages using a positive voice, collaborator Rebecca Dugan and I made several iterations of cyanotype prints. The result was a series of two images, both featuring Cherokee tribe members amidst a background of Cherokee writing. The words are jumbled, while the people maintain clarity. Both headlines reflect what language truly is, a“voice” or a “story” of individuals, but also groups of people. In other words, the images represent languages becoming endangered, while the headlines encapsulate the Endangered Language Project’s goals. The method of using cyanotype conceptually relates to the idea of preserving traditions and forming a bridge between generations.

Following a peak in the 1980s, Long John Silver’s popularity waned due to decreasing trust in fast seafood and a growing preference for fried chicken. To compete with the growing chicken industry, this campaign emphasizes that Long John Silver's conveniently delivers hot and freshly cooked seafood to people in landlocked areas. The sea is delivered straight to the consumer through the use of pattern, illustration, and a handwritten-style accent typeface; as a result, Long John Silver's becomes warmer, lively, and approachable.

This microsite showcases Aktura, a contemporary take on a blackletter typeface from the open-source type foundry Indian Type Foundry. Using Figma to prototype a wheel spinner, a clown face carousel, and a brief opening sequence, originally inspired by medieval beastiaries and the way they give each beast a spotlight, Aktura is brought to life through a pastel circus freak theme. This conveys the gothic yet modern nature of the typeface, giving extra attention to the unique features of the type specimens.

My collaborators Sami Reaves, Elizabeth Taylor, and I were tasked with redefining and unifying Thorngrove Manor’s website design. Our early stages included researching competitors, dissecting their websites, and exploring Thorngrove’s existing designs. We discovered that Thorngrove stood apart from its high-end competitors with its history, privacy, and fairytale qualities. To represent that, the logo and illustrations reference the surrounding forests and evoke a sense of quiet sophistication that is only earned with time.