The Art Directors Club (ADC) 艺术指导俱乐部更新视觉形象

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The Art Directors Club (ADC) 艺术指导俱乐部更新视觉形象




The Art Directors Club (ADC) is a 94 year-old professional design and advertising organization based in New York City. Throughout the last year, the ADC has slowly unveiled various components of their new identity which includes a new monogram, colors, typography, grids and a custom typeface, among other things. A landing page of the site describes the additional changes to come, and more significantly suggests that the ADC is poised to launch a completely re-designed website in the coming weeks.

The ADC was founded in 1920 by Louis Pedlar, who “brought his colleagues in advertising together … to dignify their profession and judge advertising art by the same stringent standards as fine art.” The first ADC logo featured a graphic interpretation of Albrecht Dürer’s signature. Al is considered to be one of the first high profile commercial artists and his initials are also conveniently the acronym of the club. Get it? The elaborate history of the ADC is populated by colorful figures ranging from James Victore to Salvador Dali, and the organization has kept company with some of the top firms in advertising and design. The ADC hosts highly successful programs competitions such as the Annual Awards and Young Guns, but they also feature benevolent programming such as the National Student Portfolio Reviews and Saturday Career Workshops. They also have a Hall of Fame and some GrandMasters (a scary title). The ADC aims to have an increasingly global presence and impact, as I have recently received emails from them asking me to travel to Miami for the ADC Festival of Art and Craft. And every time I walk by their space on 29th street, I see evidence of life: beanbag chairs laying around a lectern in the gigantic event space, some intriguing show of fresh work on the walls, or the remnants of last night’s foosball championship.




Al and his logo.

ADC is as easy as XYZ.

A press release design concept.
In a letter on the landing page of the interim website, ADC President Ignacio Oreamuno cuts to the chase and clarifies almost everything that is to come. Here’s my takeaway summary:
1. The club is being rebuilt with a focus on its roots.
2. Never say the words “Art Directors Club” again. It’s “ADC,” period.
3. The new logo is a modern interpretation of Albrecht Dürer’s signature (and of the old logos).
4. Creative professionals of the world, unite. Titles, roles and agency definitions are old guard.
5. The future has arrived. It’s gold, silver, and well-crafted.

Ignacio’s letter reads as a rallying cry with assertions such as, “We plan to continue to do more than any other international organization to help the creative industries pave the way boldly into the future. This is not a three-year plan, it’s a now plan, and one we will exec ute across the world on every continent.” This charged and borderline-totalitarian tone cannot be ignored.

An incongruous history of ADC logos.
The previous identity — designed by Trollbäck was launched less than five years ago — and was >reviewed by Armin here on Brand New, where it inspired a lot of dialogue and was subsequently illuminated with additional insights from Trollbäck. The new identity is a complete departure from the candy colors of yore, and signals a return to tight craft. Designed by Sid Lee, the new identity falls neatly in line with the family of ADC monograms that have existed in various forms since 1920. Its closest cousin is the crisp 2002 monogram by Paula Scher (bottom row, middle logo in image above), which adds a C below the A and D. The new monogram is an update of Scher’s logo, and anticipates further usage beyond a business card, letterhead, and banner. By collecting the A and D into a C forms a compact asset, the logo can travel online and fit neatly into the various squares of social media bio pics. My only issue with the monogram — a minor one — is that it has been softened slightly with curves placed arbitrarily on certain corners. This formal dissonance might be intended to signal “age” but it seems unnecessary. A clean and jazzy Geometric Sans-Serif typeface was developed for supporting materials and program names. The identity uses a classic palette of metallic and glitter colors: white, black, gold, bronze, silver. One thing that I particularly love about the system is that it appears to employ a tightly crafted Art Deco-inspired grid that can be used and reinterpreted by other designers. In the right hands, this amazing set of tools could inspire a lot of great work. At its best, it’s an identity that looks to the best parts of the past without being kitsch, and would fit neatly into the world of Jay Gatsby.





艺术指导俱乐部（ADC），是一家总部位于纽约市的94岁的职业设计和广告机构。全年负荷时，ADC已经慢慢揭开了他们新的身份其中包括一个新会标，颜色，排版，网格和自定义字体，其中包括各种组件。该网站的登陆页面描述其他更改过来了，更重要的是：建议做了ADC正准备推出一个完全呼叫在未来几周内重新设计的网站。

该ADC成立于1920年由路易商贩，谁“带来了他的同事们在广告一起......通过相同的严格标准，美术，以庄严他们的职业和判断广告艺术。 ”的第一次ADC标志特色的杜勒的签名图形解释。铝被认为是第一个高调的商业艺术家之一，他的首字母是那么方便了俱乐部的首字母缩写。明白了吗？ ADC的精心历史是由引人注目的人物，从詹姆斯Victore将到萨尔瓦多·达利填充，并组织一直与公司的一些顶级企业在广告和设计的。该ADC的主机非常成功的比赛计划：如年度奖和年轻的枪，但是它们的特点是使仁者编程：如全国学生组合评价和周六生涯工作坊。他们也有一个名人堂和一些大师（一个吓人的标题） 。该ADC的目标是有一个日益全球化的业务和影响力，因为我最近收到他们的邮件，要求我前往迈阿密艺术与工艺的ADC节。每次当我走过他们的空间29街上，我看到了生命的证据：豆袋椅围绕着讲台铺设在巨大的活动空间，一些有趣的节目的墙壁上新鲜的工作，还是昨晚的桌上足球锦标赛的残余。




Al和他的标志。

ADC是因为某某一样容易。

新闻稿的设计理念。
在此期间网站的登陆页面上的一个字母， ADC总裁伊格纳西奥Oreamuno切正题，并阐明几乎一切所做的是要来的。这里是我的外卖总结：
1该俱乐部正在重建，重点是它的根。
2从来不说的话“艺术指导俱乐部”了。这是“ADC ”时期。
3新的标志是杜勒的签名（和老标志的）的现代诠释。
4世界创意专业人士，团结起来。职称，职务及代理的定义是老后卫。
5未来已经来临。这是黄金，白银，以及精心设计的。










伊格纳西奥的信件内容振臂一呼，与断言：如， “我们计划继续做多任何其他国际组织，以帮助创意产业铺平道路，大胆地走向未来。这不是一个为期三年的计划，这是一个现在的计划，以及一个我们将在世界各地的每一个大陆执行。 “这个充电和交界极权语气是不容忽视的。

ADC标志的不协调的历史。
以前的身份 - 由Trollbäck什么设计推出不到五年前 - 什么>由阿明回顾了全新的，它激发了很多的对话和随后所照亮的Trollbäck额外的见解在这里。新的身份是从昔日的糖果色完全背离，和信号恢复紧工艺。希德李，新的标识设计，如果巧妙地与ADC印章的传宗接代自1920年以来thathave存在的各种形式。其最接近的表弟是清脆2002会标由Paula Scher先生（底行，中间的标志在图像上方） ，这增加了下面的A和D为C的新会标是剪切的标志更新，并预计超出一张名片进一步使用，信和横幅。通过收集A和D到C形成一个紧凑的资产时，该标志可以在网上旅行和适合整齐地进入社会化媒体的生物图片的各种正方形。一，小事 - - 我与会标唯一的问题是它是否已经微微的曲线随意摆放在某些角落软化。这种正式的不和谐也可能是有意的信号“年龄” ，但似乎没有必要。干净和绚丽的几何无衬线字体什么证明材料和程序名开发。该标识采用了经典的调色板的金属和闪光的颜色：白，黑，金，铜，银。有一件事我没有特别喜欢对系统做它似乎采用了紧密制作的装饰艺术风格的网格也可以使用和其他设计师重新诠释。在右手，这个惊人的工具集，能够鼓舞了很多伟大的工作。处于最佳状态，那就是看起来过去的最好的部分而不媚俗的身份，并会适合整齐地进入盖茨比的世界。