Wayne Raicik, SVP Creative Director at Cronin and Company, has had two stints at Cronin, culminating in 15 years experience at the agency. He has helped create memorable and effective print, web and TV advertising for the CT Lottery, Northeast Utilities, Twinings Tea, Garelick Milk and Tuscan Dairy. Wayne has also designed award-winning logos for Konica Minolta, the CT Lottery, Centerplate and The Harriet Beecher Stowe Center. Some of his better known work has been cited by The Advertising Club of Boston (Hatch Awards), The Connecticut Art Directors Club, Print Magazine, Communication Arts Magazine and Adweek. Wayne is a graduate of Syracuse University.
We talked about his logo designs and his career as a whole.
What do you enjoy about logo design?
It’s more personal than any other form of design. It’s normally one person’s interpretation of a name, thought or group of words. I enjoy that freedom.
What have been your favorite designs, and why?
When people say they liked something you did, that always adds to the experience. When you see your logo in the field working as intended, that’s great. A few years ago, I designed a logo for Centerplate, a national food service company for many major sports venues. Whenever I go to Yankee Stadium, it’s great to see it on aprons, hats, cups… Even my kids think it’s cool. And last year I was able to design a logo for the Petit Family Foundation, set up by Dr. William Petit after he lost his wife and two daughters in a brutal home invasion. I’ve gotten to know Dr. Petit and his family personally, and helping them has probably been the single most fulfilling thing I’ve done as a designer.
How many initial concepts do you typically present to a client?
I normally do 6 to 12 designs for any one logo. I don’t get in to the minutiae of refining and refining one design. I use the photography principle of shooting a lot of images just to get one great one.
Have there been favorites scrapped by the client?
There’s two logos I show in my portfolio that were not actually chosen by the client: The Harriet Beecher Stowe Center, and No Child Left Inside. I like what was chosen, but had a lot of heart for the alternates and couldn’t let them go.
Whenever I go to Yankee Stadium, it’s great to see my Centerplate logo on aprons, hats, cups… Even my kids think it’s cool.
Besides some great logos, what have been your career highlights?
My career highlights have come in television. Which is odd because I consider myself a designer and relate more to still images. The broadcast work I’ve done for The Jimmy Fund, The Connecticut Lottery, CT Light & Power and Konica Minolta have been great experiences. It’s allowed me to travel, work with really talented directors, editors and composers and allowed me to do some memorable work.
What would you say are your strengths and weaknesses?
I’m not a micro manager or control freak. I get a thrill when someone does a great job with very little help from me. By contrast, my weakness is giving good feedback. I like to let things simmer, not shoot from the hip, before I give feedback. You don’t always have that luxury.
What was your defining career moment?
Growing up I had a family friend who was a designer. They called them “Commercial Artists” back then. I also had a few uncles who drew and painted. My path seemed inevitable.
What keeps you going?
I think about what my parents and grandparents — immigrants from Sicily — did for a living.
Both my wife and I are originally from Connecticut and have large families here — we could never think of moving. Connecticut has a rich heritage in design — guys like Wondriska, Peter Good, Tom Fowler. I looked at everything they did and tried to learn as much as I could from them. It’s a small community, but it’s easier to spot the good stuff.