Paul Rand’s CADC logo

Paul Rand's ties to Connecticut are widely known, from his home for years in Weston and his tenure as a professor at Yale University. In 1986, Rand left even more of a mark on the Connecticut design community with the design of the Connecticut Art Directors Club logo, still in use today. "I had just joined the Board of the CADC," recalled Nathan Garland (a friend of Rand's and editor and contributor to many books on Rand) in an essay in 1998. "At my first meeting I learned that the Board was unable to select a logo from any of the various designs submitted by members in an open competition. Several of the designs had interesting aspects, but none were able to attract wide support. "I suggested that Paul Rand […] might solve the club's problem. I offered to ask Paul […] who agreed on condition that I oversee the application of his design. "Several weeks later he called to say that he had it. Without having seen the earlier attempts by CADC members, Paul had combined several of the best ideas in one resolved configuration." Rand would say, "If you show them more than two ideas, you weaken your position. […] You make one statement, and this is it." Legend goes that Rand presented one solution in a "take it or leave it" kind of fashion. "I do remember there were a few members who hated the design," says Peter Good, an active member of CADC's earlier years, and creator of iconic Connecticut identities for the Mark Twain House, UConn and the Wadsworth. "I think it's an elegant, typically modern design, exhibiting graphic wit, simplicity and grace." "Paul's design was an appropriate homage to both letter forms and symbols." wrote Garland. "The familiar acronym CADC was varied by submitting the playing card 'club' sign as a rebus in place of the last letter. In order to avoid reading CAD, the misleading word made by the remaining three letters, he arranged the four elements in two rows of two each, which also made a simple square. This was reinforced by diagonally alternating two colors — solid black for the C and the club sign and red (or a grey screen of black) for the A and the D." The rebus was familiar territory for Rand, most famously in the Eye-Bee-M poster (an announcement for an in-house IBM event) but also in an unused AIGA logo from 1982. Alexander Isley jokes, "The first time I saw the CADC logo, I thought, 'That's funny, they got someone to do a Paul Rand-style logo. Too bad they weren't able to get the real guy.' Now I'm older and I know more things." Wayne Raicik, designer of such notable identities as the Connecticut Lottery, Centerplate,  and the Ad Club of Connecticut, admits, "When I first saw the logo I remember not being terribly impressed. At the time I was very young and Paul Rand was considered the 'old guard' — I'll admit that it was a bit of young ignorance. It felt a little too simplistic and a little obvious and cliché with the club symbol. "Over the years, as I became more aware of Mr. Rand and his legacy, I developed a deeper appreciation of the logo. I now have a deep regard for its simplicity, elegance and the equity it has built. Of course, the other half of the equation is that the CADC has done a masterful job protecting the brand and adhering to elegant solutions in the usage of the logo." Good adds, "In this post, post-modern environment, it now does look a little dated. It is somewhat ironic that a design executed in the spirit of timelessness, ultimately succumbs to the whims of popular style. "But I do think that the Rand logo should continue to be used. How many Clubs can say that their identity was created by one of the greatest designers of the 20th century? Besides, what could be better?"

NEWSBRIEFS

Connecticut Agencies Named 2014 Best Places to Work

Three Hartford-area agencies were recently named among the 2014 Best Places to Work in Connecticut. Created by the Hartford Business Journal and Best Companies Group, the state-wide survey identifies, recognizes, and honors the best 35 employers that are benefitting Connecticut’s economy and workforce. Making the list were Adams & Knight in Avon, Primacy in Farmington, and Worx Branding & Advertising in Prospect.

Norwalk's Tim Mara is a GD USA 2014 Student to Watch

Tim Mara, now an art director at TracyLocke in Wilton, made the list of Graphic Design USA’s 2014 Students to Watch. Tim earned his BFA in Graphic Design at The College of Saint Rose and now resides in Norwalk.

Taylor Design Wins in the 2013 HOW International Design Awards

HOW Magazine announced that work done by Taylor Design has been chosen as a winner in the 2013 HOW International Design Awards. The winning entries include the Sarah Lawrence College Admissions Poster, designed by Hannah Fichandler and illustrated by Vaughn Fender; the 2013 Taylor Design Holiday Calendar, designed by Steve Habersang and illustrated by Vaughn Fender; and the Greenwich Academy Case Statement, art directed by Hannah Fichandler and designed by Steph Mullins Baumer. The winners will be recognized in the March 2014 issue of HOW Magazine.

Kim Ronemus Design's Studio Featured in How Magazine

Kim Ronemus Design‘s repurposed-service-station-now-design-studio caught the eye of HOW magazine and was awarded one of “Five Most Creative Workspaces in the Northeast.” The office was originally the first gas station in town and remained in service until the ’70s. Vestiges of that previous life have been maintained and can be seen in everything from the building’s cement floors to the aluminum paint. “It has a great industrial vibe to it,” says Kim Ronemus, principal.

Dornenburg Group Is Now Dornenburg Kallenbach Advertising

Dornenburg Group is now Dornenburg Kallenbach Advertising, a full-service advertising and marketing communications agency located in Bloomfield. “2013 marks the agency’s 19th anniversary and we thought this was a good time to make some changes,” says President and Creative Director Jeff Dorenenburg. “Our new name recognizes the key role that Tod Kallenbach has played during the eight years since he joined our team. Tod’s inspiration and business acumen are integral to our company, and we plan to continue growing the business for many more years to come.” With ther new name comes a new logo, a new look and a new website.

Cronin and Company Promotes Wayne Raicik to Senior Vice President, Creative Director

Wayne Raicik has been promoted from vice president, associate creative director to senior vice president, creative director at Cronin and Company in Glastonbury. Raicik initially worked at the agency from 1984 to 1988 as art director. He later returned in 1997 as senior art director. He has served as vice president, associate creative director for the past four years. “Wayne has been the creative conscience for the agency for 19 years,” says Steve Wolfberg, principal and chief creative officer of Cronin. “He’s a passionate protector of the Cronin brand, making sure that everything we create is as good as it can be.” As senior vice president, creative director, Raicik is responsible for directing and overseeing all aspects of creative at the agency. Over the years, Raicik has won numerous awards for his creative work. Prior to Cronin, Raicik was senior art director at Mintz & Hoke. He holds a degree in illustration from Syracuse University.

Madison|Mott Celebrate 13 Years in Business

Madison|Mott of South Norwalk celebrate thirteen years in business, with a new website and a blog post by co-owner Luke Scott. “Through it all, we’ve endured, and evolved. We even changed our name, to better represent the way in which our firm, and distinctly different partner personalities, provide clients with a better balance of all this new technology, coupled with the classic advertising techniques required to build and sustain a successful brand.”

Ken DeLago of Wilton Featured in Communication Arts Typography Annual

Ken DeLago of Wilton, Design Director at Golf Digest / Condé Nast, has made it into the Communication Arts Typography Annual for his identity for Hertz Construction Company. Said Ken of the mark: “A two-man construction team makes up Hertz and the two Cs in the logo do double duty as the CC in Construction Company as well as representing the two men involved. The negative space creates the ‘H’ in Hertz. The stencil effect on the hand-drawn letters create a building block motif.”