Art Directors Club announces its Hall of Fame laureates for 2010, including our very own William Drenttel and Jessica Helfand."/>

Design Observer

About
Books
Job Board
Newsletters
Archive
Contact



Observatory

About
Resources
Submissions
Contact


Featured Writers

Michael Bierut
William Drenttel
John Foster
Jessica Helfand
Alexandra Lange
Mark Lamster
Paul Polak
Rick Poynor
John Thackara
Rob Walker


Departments

Advertisement
Audio
Books
Collections
Dear Bonnie
Dialogues
Essays
Events
Foster Column
From Our Archive
Gallery
Interviews
Miscellaneous
New Ideas
Opinions
Partner News
Photos
Poetry
Primary Sources
Projects
Report
Reviews
Slideshows
The Academy
Today Column
Unusual Suspects
Video


Topics

Advertising
Architecture
Art
Books
Branding
Business
Cities / Places
Community
Craft
Culture
Design History
Design Practice
Development
Disaster Relief
Ecology
Economy
Education
Energy
Environment
Fashion
Film / Video
Food/Agriculture
Geography
Global / Local
Graphic Design
Health / Safety
History
Housing
Ideas
Illustration
India
Industry
Info Design
Infrastructure
Interaction Design
Internet / Blogs
Journalism
Landscape
Literature
Magazines
Media
Museums
Music
Nature
Obituary
Other
Peace
Philanthropy
Photography
Planning
Poetry
Politics / Policy
Popular Culture
Poverty
Preservation
Product Design
Public / Private
Public Art
Religion
Reputations
Science
Shelter
Social Enterprise
Sports
Sustainability
Technology
Theory/Criticism
Transportation
TV / Radio
Typography
Urbanism
Water


Comments Posted 11.05.10 | PERMALINK | PRINT

Michael Bierut

Art Directors Club: 2010 Hall of Fame



Last night, the Art Directors Club inducted its Hall of Fame laureates for 2010, a glamorous cohort that included our very own William Drenttel and Jessica Helfand. The evening was fun and even rather educational. Who knew, for instance, that the Hall of Fame trophy, designed by Gene Federico, was based on the Trylon and Perisphere from the 1939 New York World's Fair? Or so said George Lois in a short film produced by JaegerSloan that kicked off the evening. "I'd rather have an Art Directors Hall of Fame award than an Oscar," declared George.

Lois was in attendance, as were all of the honorees except for the impossibly glamorous illustrator and educator Phil Hays, and the "Designer of Modern Design" George Nelson, both of whom received posthumous awards. Well deserved, too, as both their work (Nelson's amazing product design for Herman Miller, Hays's chic 70s portraits) looked better than ever. The only living no-show was creative director Fabien Baron, who thanked the audience in a prerecorded message and then texted in additional gratitude for good measure. Attention to detail: that's how you get in the Hall of Fame, kids.

WNYC's John Hockenberry, legendary for his ad libs and mastery of industry in-jokes, did not disappoint as emcee, opening his remarks with a long and only partially fictionalized account of his cab ride to the evening's event, complete with a fender-bender in the Brooklyn-Battery Tunnel and a skeptical traffic cop with an accent straight out of Preston Sturges casting call who wanted to know what the hell an art director was, anyway.

Photographer Brigitte Lacombe got a resounding ovation for delivering the shortest acceptance speech of the night. Drenttel and Helfand were introduced with an typically elegant film by Andrew Sloat. Wunderkind Christoph Niemann got laughs and applause with his list of thank yous: "Number four is to my wonderful teacher Heinz Edlemann, who warned me to stay away from Photoshop. Number five is to Photoshop." But the funniest performance of the night was in a film featuring copywriter Dan Wieden's partner, art director and past honoree David Kennedy. "Wieden's a writer! He wouldn't know his ascender from his descender," fumed Kennedy, himself a past honoree. "Dan Weiden in the Art Directors Club Hall of Fame. There goes the fucking neighborhood."

Through sheer ubiquity, the star of the evening was typographer Matthew Carter. His brand new font, Carter Sans (a gorgeous take on classics like Albertus) was used on all the invitation and print materials, festooned the Art Directors Club space, and, best of all, was given as an advance-copy-only gift by Monotype Imaging to everyone in attendance. Maybe that's why Carter, as one guest observed, seemed to be looking like half a million bucks.

Share This Story

RELATED POSTS


Nature-ization Takes Command


A Dictionary of Surrealism and the Graphic Image


George Nelson in Two Dimensions


Andrzej Klimowski: Transmitting the Image


Banham's America



LOG IN TO POST A COMMENT
Don't have an account? Create an account. Forgot your password? Click here.

Email


Password




|
Share This Story



Michael Bierut studied graphic design at the University of Cincinnati, and has been a partner in the New York office of Pentagram since 1990. Michael is a Senior Critic in Graphic Design at the Yale School of Art.
More >>

DESIGN OBSERVER JOBS









BOOKS BY Michael Bierut

Seventy-nine Short Essays on Design
Princeton Architectural Press, 2007

Forty Posters for the Yale School of Architecture
Winterhouse Editions, 2007

Looking Closer 5
Allworth Press, 2006

Looking Closer 4
Allworth Press, 2002

Looking Closer 3
Allworth Press, 1999

More books by contributors >>