Brand manual for Rome 2024

Printed on Fedrigoni Arco 120gr at ISIA Urbino on June 2014 Binded by G. Dondi Legatoria, Urbino (PU) Federica Selleri matricola 1052 project developed for the course “Comunicazione d’impresa” prof. Danny Kreeft / tutor Ilaria Roglieri a.y. 2013/2014 ISIA Urbino

Rome’s sterotypes Rome’s Identity

International Olympic Committee Olympic Charter

Rome now p. 10

Olympics structure p. 9

Emblematic cases

p. 7

History of Olympics Games

p. 6

Research p. 5

Rome 2024

Brand identity p. 23

Logo p. 24

First sketches Make a grid Design shapes Define shapes

Pictograms

p. 62

Building shapes

Colours palette

Defining shapes

Typography

Colours

Other variants

Integration with geometry

Images treatment

Brainstorming p. 16

Inspiration p. 18

Motivation p. 19

Development p. 20

Concept p. 15

Other p. 112

Medals

Merchandise p. 104

Shopper Cup T-shirt

Application p. 70

Colours treatment Posters grid Posters Banners grid Banners Billboards Post stamps Tickets grid Tickets - Economy Tickets - Premium

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The Olympics are a very broad and complex context to investigate, for this reason we have identified focal points that define the way in which identities were constructed in the Olympic history and the political, social and economic context in which they are developed. In addition, we proposed to investigate thoroughly how the city has already dealt with the Olympics of 1960 and how the current context is proposed also in terms of brand identity and spirit of the city. To make this work in a systematic and deep way into all the most crucial aspects of content we have divided this work index.

Merih Akman Anna Cecchini Claudia Colombo Sonia Poto Federica Selleri

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Research History of Olympics Games

A brief history of the ancient olympic festivals that took place in Olympia, Greece is explained in the following paragraphs. Mythology is a particular element which has been a valid source of inspiration for the creation of most of the visual identities of the Games. Initially the term “Olympiad” was used for defining the period between one game and another which usually consisted in four years. Hereafter, Olympiads have become the name of agonistic international games themselves.

The name Olympiad hails from the city of Olympia in Elis, a historical area in the north of Peloponnesus, a place for worshipping. The most famous and immediate symbol of the games is the “five circles”, which stand out on each games identity. These weaved rings represent the union of the five continents, meanwhile the five colors (red, green, blue, black and yellow) assigned to the rings have been chosen

by Pierre de Coubertin because back then they were used in flags all over the world. The commonly believed idea that each color represents a specific continent has been recently falsified by the Olympic commitee. In spite of that, most of people continue to associate each color to a continent: black for Africa, green for Oceania, red for America, blue for Europe and yellow for Asia.

There is a story about the de Coubertin’s inspiration of circles: he was in Delphi, a famous archaeological site in Greece. While sitting down to rest for a moment he saw a stone with five weavedcircles carved on. Another story tells that wo rings for athletes’ uniforms of UFSA, Union des Societes Françaises des Sports Athletiques. Besides the five rings, there are other symbols that stand for the Olympic games; some of which are the olympic torch, the maxim and the hymn. The identity of each game instead is designed specifically for the occasion, and this consists in a logo, posters, medals, mascots and other identity elements.

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Emblematic cases

The analysis of the past, current and future identities of the Olympic games is very useful to understand how nations, and specifically cities, prefer presenting themselves to the whole world. It’s clear that some countries, such as Brasil in case of Rio, have an urging demand for an optimistic branding, inspiring trust and comfort. Meanwhile others, like in the case of London 2012, can permit themselves to design a very futuristic and shocking identity, because they don’t need to prove themselves to the world. Such diversification is extremely important when projecting the identity of a city, as the Games don’t represent only the sports but very much more. Understanding the sociopolitical conditions and the history, traditions and culture of a country is fundamental to contextualise the role of the Games that it will host.

For this reason, the most prevalent cities in the history of the games have been chosen and analysed, and by overlapping its results with the analysis of Rome the 2024 identity will start having a shape.

Los Angeles 1932 The first identity that could be considered as a “logo” in the games’ history. The following identities will be taking this one as a basis, leaving aside the poster identiry and focusing on symbolic design.

Rome 1960 The central figure of the ’60 summer olympics logo was chosen to be the Capitoline Wolf –a legendary symbol of Rome from ancient times.

The composition is finalized with the date of the games in roman numbers. The very rigid design of the games may refer to neofascist periof of Italy.

Mexico City 1968 One of the most significant identities of all times, Mexico ‘68 refers to the local art of the country and recreates a pattern for the games.

For being the product of the most vivid years of the XX century, it updates the local artwork by making it interact with 60’s psychedelia. The reason why such a huge identity was created is because it’s the first Olympic game made in Latin America, with geographical and infrastructural problems that had to be in a way disregarded.

Munich 1972 Munich games have a very strong identity designed by Otl Aicher, with the concept of “simplistic design”. Even though the logo is b/w, the rest of the identity seems to be relating to the colors of Bavary.

The use of Helvetica and the articulated pictograms may be due to the modernistic tendencies of the time.

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Athens 2004 This identity is an important one to consider when designing the Rome 2024 identity, due to the classical history of both cities. It relates to the national colors of Greece, by redesigning the olive branch in a naive way. With the motto of embracing the whole world, it underlines the return of the games to Greece. According to the designer Wolff Olins, it was particularly effective in attracting sponsorship.

Beijing 2008 The identity of Beijing is formed by an athlete running forward, embracing the joy of victory and at the same time looks like a Chinese character. The adequate font selection recalls chinese calligraphy and the red stands perfectly for China. The 2008 games were highly important for the country to launch itself to the world, to shout out its power and glory. The opening and closing ceremonies are a perfect example of this.

London 2012 The London 2012 identity is the most criticized identitywe came up with during this research. Made by the same designer of Athens 2004 (Wolff Olins), the public reaction to the logo was largely negative. It was criticized for not representing London’s characteristics or qualities, and for being visually irritant.

According to the designer, instead, it’s conceived to inspire a generation, to get involved and to feel part of London. It’s to be filled with images, and it represents the actual traits of the city. It’s edgy and modern. The CMYK color profile which apparently saves the identity from a banal national logo has been criticized by epileptic people. It surely is a very strong identity which only a city like London could permit itself such an identity, representing it’s uniqueness, it’s courage and it’s being always one step forward and unexpected.

Rio de Janeiro 2016 The identity of Rio was projected by tracing the outline of the hills of Rio, with the aim of representing “passion and transformation”.

Brasil is one of the most accelerated countries in the world for its economic growth. The transformation expressed in the concept of the project is the way Brasil wants to reflect itself to the world, expressing unity, inspiring achievement and optimism. It should be innovative and futuristic as it has to last until the games. What makes Rio different, giving it personality and makes it feel human?

This were the questions asked by the designer group. The final design represents an embrace, the hills, the colors and the movement of the city.

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Olympics structure Olympic Charter The Olympic Charter is a written guide made of rules and guidelines that resumes the principles, the rules and the laws of the Olympic Games adopted by the International Olympics Committee (IOC). It supervises the organization and the development of the Games and defines conditions for the celebration of the Olympiads. The fundamental principles defined in the Charter are the modern definition of “Olympic� imagined by Pierre de Coubertin in 1894: his philosophy was the association between sports, culture, education and development for a pacific society as the final goal.

It is also defined as the Olympic Movement, a clear consequence of the Olympiads, as an extent that makes groups of sporting clubs and athletes. It tries to contribute to the building of a better world where young men and women get educated according to sports without racism or prejudice. Activities and purposes of the Olympic Movement are represented by the symbol of five weaved rings as an abstract visualization of embraced continents.

International Olympic Committee The International Olympic Committee (IOC) has been established on June 23, 1894 as the supreme and fundamental authority of the Olympic Movement. It includes the International federation (FI) and the National Olympic Committee (CNO).

The IOC has described in its entirety in the research of: - legal status; - organization; - role; - patronage; - rights.

The INOC (Italian National Olympic Committee) , an emission from the International Olympic Committee (CIO), is the most important authority in protocol, control and manage of the italian sporting activities.

The Italian National Olympic Committee, a public company that defines the organization and the building up of national sports, promotes the greatest diffusion of sporting practice.

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Rome today

We have to underline an important topic. Nowadays in Italy, in particular in the institutional realities there is no money to invest in a cultural and intellectually acceptable corporate image.

The consciousness for a correct and functional corporate image design for big institutions doesn’t exist. The graphic project is left in the hands of “anyone” because “anyone” can participate in contests to draw identities. This is how most of the institutional identities are made: ridiculous budgets, incompetent clients. The examples are various, and Rome is an emblematic example of this situation. We think that graphic design is superfluous. There’s no-one in fault but the system itself. This makes the Rome 2024 identity project utopic.

Rome’s identity How we pretend to analyze the city (and the way we will be moving on) 5.1 The actual identity of Rome (as if its name and its dress code) Way of thinking and projecting to communicate: Rome has two types of logos: one for the institution and one for the marketing of the city.

Both of these identities is susceptible of some changes after a test phase.

Rome has two types of logos: one for the institution and one for the marketing of the city. Both of these identities is susceptible of some changes after a test phase.

Institutional logo In the abstract of the new identity of Rome, we see the intention of defining it like a smart city which in its conservatism has the consciousness of the new world in which we live.

Truth (or not) written in the abstract (which pretends to describe this new face of the city): Implementing communication; Using citizens active collaboration; New languages which allow dialogue between citizens and the authorities; and many other things that don’t actually reflect the effective status of the city and its communication with reality.

Formal choices 1. Content: The identity project was born in 2010 when the “città di Roma” became “Roma Capitale”.

This is how the institutional website describes the new logo designed

by Inarea Studio: “The City of Rome in 2004 embarked on a policy of brand manage-

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ment and corporate identity with the goal of making their own recognizable communication through a unified and shared format.

The program to redesign the emblem of the city ( the shield with the inscription SPQR ) had standardized many variants hitherto existing .

The traditional image of the shield was added to enhance the communicative impact, an image of great evocative power: the name of Rome. This identity has followed the guidelines encoded by a “manual”: the campaigns, publications, items of correspondence, forms, signs of the offices and other products of corporate image.

Subsequent extensions have then involved the public transportation, AMA, trademarks and logos of Municipalities, Municipal Police Corps.”

2. Shapes: shield and crown 3. Colors: Crimson red and yellow 4. Typography: Urbe typeface designed for the city by Inaera, inspired to the historical “Roman Lapidary”. This typeface is strictly related to the tradition and express the spirit that the city wants: classical and conservatorist.

Commercial logo For the selection of this logo, a national competition was made under the name of “Rome in a picture”: The brief demanded: “contemporary redesign of the Capitoline Wolf, symbol of Rome’s foundation, combined with the textual expression/logo “Rome” and was direct to agencies and professionists in communication design, students or grads with no age limit in the areas of Graphic Design, Visual Communication, Advertising, Fine Arts and Cultural Heritage.”

This is the motivation of the choice (quoted from the website): “... The power of appeal to the classical tradition, evident as much in the rich iconography of the capital as the momentum of the column topped by a stylization of the legendary Wolf.”

Keywords that diversify the identity of the city of Rome: Conservatism; Tradition; Classicism; Marble; Columns; Sculpture; Connection; Eternal City; Urbe; Elegance; History; Latin; Roman Empire; Vatican.

Common sayings about Rome: - Roma non è stata costruita in un giorno; - Tutte le strade portano a Roma.

All streets lead to Rome: according on the real fact that the great-

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est routes of connections pass through Rome (because they’re built when the city was the center of Roman Empire; - Roma è la capitale del mondo; - Roma è come la Fabbrica di San Pietro, non finisce mai; - Quando a Roma ce s’è messo er piede, resta la rabbia e se ne va la fede; - Roma veduta, religione perduta Seeing Rome makes you lose your belief; - Chi sta lontano da Roma sta più vicino a Dio; - Chi a Roma vo’ gode’, s’ha da fa frate; - A Roma Iddio nun è trino, ma quatrino.

Roma Caput Mundi Rome: eternal city or the center of the world The eternity of Rome is due to its immortal beauty and the fact that it was built on the ruins of the old architecture.

5.2 Other corporate images in the city scenario which create the complessive vision of the city (like the accessories it wears) Art; Architecture; Design; Events; Turism; Infrastructures.

The GRA or (A90) is a free highway, which circles Rome annularly as a closed circular path without interruption. Eponymous unofficial engineer Eugenio Gra, not only the leading creator and supporter of the construction but also the general manager of ANAS at the time of realization. The “GRA” acronym was studied ad hoc to keep the corrispondence to the name of the engineer.

The structure and the historical context in which the GRA was planned has been studied in order to understand its role in the city.

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Rome sterotypes We developed some questions about the city of Rome and the idea people have about it: citizens of Rome, foreigners who have visited or even who has never been there. The common ideas on Rome were considered to be useful before starting the brand identity.

The questions were about the urban mobility, wayfinding systems, the stereotypes and the most common ideas on the city’s appearance and characteristics.

Some examples of the questions asked: How would you describe the city of Rome to someone who has never visited it?

In your opinion which monument of Rome represents the city?

Use three adjectives to describe the wayfinding system of the city center.

Does the presence of the Vatican State influence Rome’s identity?

The 100+ results we recieved demonstrate the tendency of identifying Rome with the typical traditional images such as the Capitoline Wolf, the Colosseum and all the other historical monuments in general.

When it comes to the problems of Rome, the major one is the traffic, followed by the disorganization of the transportation system. Rome is described as chaotic, dirty, eternal, historical, antique, modern, huge, political and religious.

Symbols - Capitoline Wolf; - Colosseum; - Vatican; - S.P.Q.R; - the Legend of Romolo and Remo (Romolo that founded Rome) Historical Buildings - Colosseum; - Pantheon; - Imperial Forum; - Trevi’s fountain; - The mouth of truth; ...

Italian Cuisine Personalities - politicians; - the Pope; ...

Films - La Dolce Vita;

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Concept Brainstorming

contrast pattern

balance harmony

materials

RECURRING SHAPES

buildings

structure order regularity connections

geometry

intersections

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energy coexistence OLD / NEW WORLD

evolution

overlapping cyclical

history repetition

LAYERING DIFFERENT CENTURIES

moving communication

borders perspective directions

ROADS & CONNECTIONS network

signs

limits

coexistence

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Inspiration

My principal source of inspiration was the visual communication made for the London Olympic Games of 2012 and partly the one for MontrĂŠal 1976, Sarajevo 1984 and California Winter Games 1960 .

Starting from the results of our research and the questionary about Rome that revealed a common thought still tied to the traditional iconography of Rome I tried to set up a mediation between these results and our brainstorming ( that is explained in the previous pages); the aspects I’ve based my work on are the ones regarding connections and city recurring shapes concepts, therefore a kind of formal network that follows a grid already present on the local area, according to the concept of a coexistence of different ages in the same place and the overlapping of several cultural and social layers.

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Motivation

I’ve chosen the topic of the connections made from ancient roads beceause I believe that they are not only a means for people’use but also a strong symbol of coexistence between past and present and, why not, future. Romans have built ther city following a geometrical diagram made of squares and straight roads that cross each other giving the idea of a complex network. But it is not a real complexity because when you walk around the city even if you don’t know exaclty every corner you are pretty sure that each road you follow is going to bring you somewhere. Therefore while I was sketching my logo I’ve thought that this idea of simplicity-complexity was exaclty the one I wanted my logo to contain.

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Development

As you could see in further pages, I’ve decided to use an old map of Rome’s streets as starting point for my logo. I’ve chosen a particular map where roads are highlightened in order to build easier a sort of grid. This kind of ancient roads create a perfect regular network that is suitable to my idea of a logo built on connections, designed as a label that represents modernity on the one represents ancient times.

So these are my keywords for the project:

center organization regularity network geometrical practical

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Brand identity

Logo First sketches When I found a map suitable for my idea I’ve started with tracing borders, dividing obtained shape and exploring colours variants.

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Logo Make the grid After many different attempts I’ve tried to build a sort of grid on the map retracing the roads and the city borders and create thirty-five pieces as the number of Rome quarters; at a later stage I’ve marked each road with a line that follows the direction of the road.

I’ve obtained a grid with crossed and parallel lines.

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Logo Design shapes On this new grid I attempted to draw the letters which made the name ROMA, because I decided to start from the name of the city, so I‘ve built each letters on the previous made grid, in order to mantain a typical roman strictness in building shapes and ancient roads which were built always with the same stratified model.

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For the number 2024 I’ve treated shapes in the same way used for letters.

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Logo Define shapes After found out the shapes, some of them needed to be fixed well: so I’ve changed a bit some parts of the external layout in order to make them more balanced with the rest.

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I’ve divided the obtained paths into 35 polygonal pieces (as quarters of Rome) with an end aim to the centre. The result are these simple shapes made of a complexity of multiple slices connected each other in a centre that is different for each letter.

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Logo Colours palette After defined shapes I’ve had to focus on the colours range for each letter: I wanted a different variation for each shape using few colours.

I’ve decided to use red and some different shades from pink to orange. Red is a colour full of sense and tradition for old Roman culture: it symbolize authority and importance; bright warm colours are a metaphor of the active life and the sunny side of the city.

C 0 M 100 Y 100 K 0 R 277 G 4 B 19

C 0 M 38 Y 75 K 25 R 200 G 142 B 64

C 0 M 80 Y 80 K 0

C 27 M 56 Y 100 K 21

R 233 G 79 B 53

R 165 G 106 B 20

C 0 M 60 Y 60 K 0

C 7 M 72 Y 87 K 0

R 240 G 130 B 98

R 255 G 97 B 45

C 21 M 80 Y 37 K 21

C 6 M 58 Y 70 K 0

R 169 G 67 B 56

R 231 G 131 B 82

C 26 M 100 Y 91 K 27

C 4 M 43 Y 52 K 0

R 150 G 24 B 28

R 239 G 165 B 125

C 44 M 99 Y 78 K 70

C 21 M 63 Y 75 K 46

R 71 G 13 B 16

R 132 G 76 B 45

C 0 M 75 Y 75 K 25

C 27 M 84 Y 100 K 28

R 190 G 77 B 51

R 149 G 55 B 20

C 42 M 65 Y 95 K 61

C 5 M 54 Y 65 K 25

R 87 G 55 B 7

R 190 G 116 B 76

C 21 M 45 Y 80 K 16

C 40 M 32 Y 30 K 9

R 184 G 132 B 61

R 158 G 156 B 159

C 0 M 50 Y 100 K 0

C 32 M 25 Y 24 K 8

R 243 G 146 B 0

R 176 G 174 B 176

C 0 M 30 Y 60 K 0

C 24 M 19 Y 18 K 6

R 250 G 192 B 117

R 195 G 193 B 195

C 0 M 40 Y 80 K 0

C 18 M 13 Y 14 K 0

R 247 G 169 B 65

R 216 G 216 B 216

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Final logo

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Logo Negative version

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Logo Minimum size

100 x 142 mm

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60 x 100 mm

45 x 67 mm

20 x 30 mm

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Logo Minimum clear space This kind of logo needs a specific grid in order to define rules for a proper use. I use the number two I’ve built before as a module for

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Logo Improper use

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Logo Typography I’ve decided to use Soho Gothic Pro, a font designed by Sebastian Lester for Monotype Foundry. It’s a part of a largest project that contains all of the font of the Soho familty. Soho Gothic Pro is a low contrast sans serif text face. Clean, precise, uncluttered forms have been created that lend themselves well to use in screen and print.

Stylistic alternatives are an instrinsic part of the design: it gives greater flexibility when required and simply makes a typeface more useful.

Soho Gothic Pro - Light 12 / 14 pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

17 / 20 pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

25 / 30 pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

40 / 48 pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

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Soho Gothic Pro - Regular 12 / 14 pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

17 / 20 pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

25 / 30 pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

40 / 48 pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

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Soho Gothic Pro - Light Italic 12 / 14 pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

17 / 20 pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

25 / 30 pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

40 / 48 pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

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Soho Gothic Pro - Italic 12 / 14 pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

17 / 20 pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

25 / 30 pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

40 / 48 pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

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Logo Images treatment Also the images have to be trated in the same way of the letters: I used traditional stock photos of Olympic sports and redrawn subjects with triangles. Photos have to represent an entire body during the action in order to emphatize the effect of the “vector treatment�.

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Pictograms Building shapes For the design of pictograms I’ve started from all the triangles that form the logo of Rome 2024: I’ve rearranged them in order to create antropomorphical shapes of people playing sports.

I used triangles with their original sizes, trying to organize thick and wide shape with a definite cohesion.

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Pictograms Defining shapes After a first building only with triangles I’ve noticed that a simple use of only geometrical structures had generated too much withe spaces between borders. So I’ve tried to create an external shape around triangles, a path that contains triangles and mantains the antropomorphical aspect.

I’ve also had to make less pointed the angles of path in order to render them more human and less mechanical.

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Pictograms Colours The simple use of pictograms with black as fill colour would have create a conflict with the logo, that I think needs to be in a functional relation with all of the formal language.

According to this brainstorming I tried to use one of the thirty-five triangles to create a different kind of background for each pictogram, with a specific rotation according to the subject and the sport of the pictogram.

Also the colours follow this formal style: each sports family has a particular color or range, from bright red to dark brown.

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Integration with geometry

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Application Colours treatment For the designing of advertising and all of the visual communication connected to the event I’ve chosen not to use the same exact colours of the initial logo but similar ones that show a relationship with the bright and original ones.

I’ve taken the entire palette and made two different version of it which I can both use with posters, banners and merchandise.

In the first version I’ve tried to decrease the lightness of each colour with the result of a new darker range of colours more similar to earth colours; another version is the one in which I’ve increased at most brightness and given 50% of opacity: the result is a light and warm range of colours that I can use in association with the other darker palette. Both version have enough contrast with the original colours of the logo so I can use them at the same time.

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Dark version

Extra lightness version

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Application Poster grid For traditional poster I’ve decided a specific grid with a vector image, the logo, a title and a subtitle. The background style follows the two versions explained before with quite freedom about the choice between light and dark colours.

The arrangement of triangles in the background is up to the designer: there are only few rules to follow, for example the attention to fill each white space with a triangle. The only white allowed is the one of the largest triangle in the top left of the poster.

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Date Soho Gothic Pro Light 55/66 pt Ceremony Soho Gothic Pro Light 38/45 pt

Place Soho Gothic Pro Light 20/24 pt

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Application Posters

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Application Banner / Billboards grid Also for vertical and horizontal banners and billboards it has been necessary to define some specific rules about the building and the arrangment of shapes, colours and vector images.

A basic common grid is the starting point for each banner, however it could be modified or gone through little changes.

Because of my ignorance about the exact dimensions of banners and billboards, I’ve calculate few ratios that can be use with every variation of dimension. The only element that has specific rules is obviously text.

Payoff Soho Gothic Pro Regular 57/68 pt For correct proportions see next page.

* All texts on banners and billboards are left alligned.

Dates Soho Gothic Pro Regular 29/34 pt

81

100 %

82 %

95 % 100 %

46 %

61 %

100 %

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Application Banners

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Vertical banners can support more changes than billboards and posters: the largest triangle that is filled with white in other application can be filled with other original colours of the logo, which has to be filled with white. In that case strokes have to be coloured with the same hue of the triangle.

Background colours and triangles arrangement remain a designer’s choice.

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Application Billboards

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billboard

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Merchandise Post stamps For stamps I’ve made a different way of thinking: I’ve created several graphical elaborations of the background paying attention to follow previous colours treatment. As a overlapping layer I’ve put pictograms with white as filling and the logo inside the same white triangle already seen in posters and banners. The word ITALIA and the price 70 are written in Soho Gothic Pro Light, with 10 and 14 as respective sizes.

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ITALIA

70

ITALIA

70

ITALIA

70

ITALIA

70

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Merchandise Tickets grid Tickets are the only application with a very defined grid that needs to be respected in order to follow specific rules of coherence: it is necessary for the right comprehension of texts that the designer respects a predefined grid, with the choice of triangles arrangement up to the person who decides ticket’s structure.

For the examples below I used fake tickets of 8 x 18 cm with rounded angles.

I’ve defined two different kind of tickets: an Economy and quite cheap one with the darker background and a Premium one with the high lightness background.

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103 mm

17,5 mm

23 mm 5 mm

4 mm

3 mm 3,5 mm

17 mm

8 mm Entrance and seat Soho Gothic Pro Light 10/12 pt

Serial number and warning Soho Gothic Pro Light 9/11 pt

Price Soho Gothic Pro Light 9/11 pt Name of the sport Soho Gothic Pro Medium 18/22 pt Place Soho Gothic Pro Light 13/16 pt Address Soho Gothic Pro Light 12/14 pt Date Soho Gothic Pro Light 18/22 pt Time Soho Gothic Pro Light 17/21 pt + 12/14 pt

Entry code Soho Gothic Pro Light 10/12 pt Code Soho Gothic Pro Light 16/19 pt

* All texts on tickets are left alligned.

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Merchandise Tickets - Economy

candy candy canes pie carrot cake. Dessert cupcake sweet liquorice.

Gingerbread apple pie pudding halvah carrot cake dragée cupcake jelly-o.

Bear claw sugar plum jelly-o. Fruitcake gummies oat cake topping sugar cookie jujubes.

plum dragée wafer jelly chocolate bar lollipop.

candy candy canes pie carrot cake. Dessert cupcake sweet liquorice.

Gingerbread apple pie pudding halvah carrot cake dragée cupcake jelly-o.

Bear claw sugar plum jelly-o. Fruitcake gummies oat cake topping sugar cookie jujubes.

plum dragée wafer jelly chocolate bar lollipop.

candy candy canes pie carrot cake. Dessert cupcake sweet liquorice.

Gingerbread apple pie pudding halvah carrot cake dragée cupcake jelly-o.

Bear claw sugar plum jelly-o. Fruitcake gummies oat cake topping sugar cookie jujubes.

plum dragée wafer jelly chocolate bar lollipop.

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Tickets - Premium

candy candy canes pie carrot cake. Dessert cupcake sweet liquorice.

Gingerbread apple pie pudding halvah carrot cake dragée cupcake jelly-o.

Bear claw sugar plum jelly-o. Fruitcake gummies oat cake topping sugar cookie jujubes.

plum dragée wafer jelly chocolate bar lollipop.

candy candy canes pie carrot cake. Dessert cupcake sweet liquorice.

Gingerbread apple pie pudding halvah carrot cake dragée cupcake jelly-o.

Bear claw sugar plum jelly-o. Fruitcake gummies oat cake topping sugar cookie jujubes.

plum dragée wafer jelly chocolate bar lollipop.

candy candy canes pie carrot cake. Dessert cupcake sweet liquorice.

Gingerbread apple pie pudding halvah carrot cake dragée cupcake jelly-o.

Bear claw sugar plum jelly-o. Fruitcake gummies oat cake topping sugar cookie jujubes.

plum dragée wafer jelly chocolate bar lollipop.

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Merchandise Shoppers For the design of shoppers and other merchandise, with the exception of tickets, I’ve tried many graphical experiments starting form the use of the same vector images used in posters and banners but with a different colours treatment: most of the triangles have not a fill colour but only a thick light grey stroke. Only a few triangles has filling colours, different each other and with a corrispondence with logo colours.

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I’ve made also different experiments with shades, shapes and colours for shoppers variations. The disposition of shading triangles is up to the designer because there isn’t a specific of definite organization of shapes, so everybody can choose a different arrangement with the same result.

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Merchandise Cup The design of cups follows the rest of merchandise, with a free arrangement of high lightness triangles or an horizontal distribution of triangles in the original colours in lines.

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Merchandise T-shirt The concept of the t-shirt follows the same rules of other application, with the free arrangement of shapes, in a total light version and in a original version. The only rules for a proper design is the box containing the white triangle and the logo in the right bottom angle of the first t-shirt and the logo in the the center top of the back side of the second t-shirt. In the front of the t-shirts have to be more crawded in the bottom right angle than the top. Triangles with maximum lightness or with original colours have to be distributed in the bottom of the back side of each t-shirt, not going beyond 1/3 of the entire surface of t-shirts.

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Other Medals Medals are the only application where the visual language differs a bit from the rest: indeed this time I’ve preferred using only the logo and its shapes, with the initial grid as the background. The interesting thing in those medals is the way I’ve treated each shape: every triangle that made the logo has a different height from others.

So from a front view it appears the classic logo but if reclining the medals you can see the differences between shapes, hidden in the front view.

Different heights represent variances in the area of Rome, from social variability to local diversity.

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Only one word is never enough to describe Rome. This city has an impressive quantity of different layers that coexist one next to another even without any connections.

Rome has also so many sides that aren’t resemble each other but give to the city that chracteristical aspect of fullness and complexity. This logo with its diversity in colours and shapes mixed with a similarity in geometry concentrates in itself this real essence of Rome, this particular state of mind that is typical of the ancient world capital.

It’s precious and finds its treasure in the wide range of colours because even if the darkest one seems always clear and refined. Even the choice of a simple geometrical shape like triangle is the result of this sensation of a neverending and precious culture that Italy is lucky for have inherited.

Someone once said that “Rome wasn’t built in a day” and the logo is the clear expression of this status: rocks and precious stones need millenniums for being create, each borders and each lines is the result of a secular evolution, that has passed through several ages but remains as strong as always.

Each triangle shines in a different way and generate several shades of the most common colours seen nowadays around the city and in past ages.

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