Research publication by Jamie Pudsey

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The Winter Olympic Games

Torino 2006 The emblem for these Olympic Games has drawn inspiration from the Mole Antonelliana, which is a major landmark in the city

of Turin. The emblem is a stylized profile of this building, it’s been drawn in ice crystals, using the colours blue to simply to be representative of the snow and sky. The crystal web also protrays the web of new technologies and Olympic Spirit of community.

rooted in history while clearly pointing to the future. The piazza is the perfect Olympic and Italian metaphor

for expressing the Ideals of the Games – friendship, fair play and respect

The concept from which the Torino 2006 Look of the Games arose, is the “Piazza”: a uniquely Italian solution, strongly

While offering a modern interpretation of the Italian spirit. The piazza is full of contrasts. Different structures, cultures, lifestyles, rituals, lan-

guages, opinions and beliefs mingle, each retaining their unique character while drawing energy from others. It is here that ideas are born and dreams are realized. Tradition exists with innovation. Art with commerce. History with modernity. Expression with restraint.

(Below) “Passion lives here” - the Turin 2006 motto written by the Italian calligrapher Francesca Biasetton.

Salt Lake City 2002

integrity of the Crystal and to ensure that it is large enough to remain recognizable.

The emblem (Below) combines a snow crystal and a sun rising over a mountain. The yellow, orange, and blue colors represent graphics program, while preserving the thematic idea that distinguish the Look of the Winter Games. A balance must be maintained within the Crystal Rhythm in order to preserve the

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(Below) â&#x20AC;&#x153;Passion lives hereâ&#x20AC;? - the Turin 2006 motto written by the Italian calligrapher Francesca Biasetton.

Identity

the varied landscape. The Cristal Rhythm (above) is an extension of the emblem. It is also the signature Look element for the Salt Lake 2002 Games and was created to bring stylistic vaiety to the

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Pictograms The emblem for these Olympic Games has drawn inspiration from the Mole Antonelliana, which is a major landmark in the city

rooted in history while clearly pointing to the future. The piazza is the perfect Olympic and Italian metaphor

for expressing the Ideals of the Games – friendship, fair play and respect

The concept from which the Torino 2006 Look of the Games arose, is the “Piazza”: a uniquely Italian solution, strongly

While offering a modern interpretation of the Italian spirit. The piazza is full of contrasts. Different structures, cultures, lifestyles, rituals,

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Aicher adopted his signs from the earlier Tokyo olympics rather than Mexico City’s but applied a more simplified geometry.

compact, a conclusion with out a flourish and coincidence.

The symbols were designed using a set of standradized graphic elements arranged on a grid. All figures were created in a field consisting of a square with an orthogonal and diagonal grid.

Pictograms

Aicher’s design team in Munich believed that the clarity and recognition of a symbol was closely related to it’s form and structure; As Aicher wrote, “ A symbol is like a term, an appeal, an not like a description. It is more

All elements were arranged with an angle of either forty-five or ninety degrees, which was only made possible by drawing lines of the figure as paralells with a defined width.

Olympic Stamps

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Stamps

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Screen Design Mobile Guide to the Olympic and Paralympic Winter Games in Sochi .This app alows you to able to stay up to date, to know

the accurate schedule of competitions and other events, to follow the Olympic and Paralympic Torch Relay, to purchase tickets, to plan a trip, to navigate in Sochi and at sports venues with the interactive map, to share experiences with friends and much more. Sochi 2014 Guide is an encyclopedia of the Games.

Sochi, Russia. It brings together a series of weird, wonderful and ‘did you know’ facts about the 2014 Games and its host resort. It’s light and fun – avoiding more than a nod to the protests about Russia’s homophobic laws that have almost Bristol-based Fiasco Design wanted to show eclispsed the sporting side of the Games – of its skills in creating interactive versions, so and it’s easy to see how has created an interac- the approach could be adapted to commercial tive map of the 2014 Winter Olympics in

projects. Ben Steers, co-founder Fiasco Design, said: “We wanted to create a fun and informative digital product that highlighted both the positive and negative facts surrounding the most controversial winter games to date”

application contains more than 300 carefully restored images that will allow visitors to get acquainted with the city’s culture, history, cuisine and all the varieties of flavor of southern Russia. Also, the Sochi app includes a section devoted to the cuisine of the Caucasus, where you can learn about the most famous and delicious dishes.

worked tirelessly to represent our nation and now it’s our time to show them support. With the #ItsOurTime app you can do just that. Once you download the free app you can sign in using Facebook, Twitter or AT&T has made it easier for American’s to email, and upload a U-S-A chant. “U-S-A” support their country, chants will be added they have designed to an interactive wall an app called #Its of support to create a OurTime. “For years nationwide chant that our Olympians have will be seen digitally

and on TV. To join the conversation and show your support, use #ItsOurTime and start tweeting!

Screen

The Sochi application was specially created for all guests of the city. This app allows the user to able to visit all the main attractions of the city on their own, by specially created routes. In addition, the

Wayfinding The identity of Sochi has been applied to every aspect of the

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Olympic games possible. Although these images arenâ&#x20AC;&#x2122;t aspects of wayfinding the Official Olympic logos and the Sochi pattern have been applied throughout. The image left and below are examples of how the logo can be applied big and small, respectively.

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structures for the 2012 olympic park. the proposals combine historic vectors and iconic influences into a highly distinctive design that fits LOCOG’s original ‘look and feel’ brief. Surface architects were TFL’s johnston typeappointed to work with face is used on the signage in addition to the LOCOG and ISG in the design and delivery 2012 typeface.Doluptas molest, sunt eum rectat of a family of high imos excero profile wayfinding

Wayfinding

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Sochi

um, on every ticket, and on tens of millions of dollars’ worth of OlymAnyone who has pic merchandise—is watched an Olympics remarkably different whose vision is sharp will notice that the logo from those of previous for Sochi 2014—which Olympics. It contains appears in every stadi- no drawing and features only unassuming lowercase lettering, the five Olympic rings, and a Web address. Guo Chunning, who designed the “Dancing Beijing” logo for the Beijing 2008 Games, has researched the history of Olympic logos going back to the be-

ginning of the modern Games, in 1896. He believes that, with the exception of Mexico City 1968 and London 2012, this is the first time a logo has lacked drawn elements

of the new Russia and deliver positive, sustainable change.” A press release asserted that the logo “illustrates the connection between the past and the future, traditions and innovations. It reveals different images of Russia, forming a ment,” corresponding When the Sochi 2014 Organizing Committee “to the strategic vision holistic representation of the country” and of the Organizing unveiled the logo, it Committee to host the “symbolizes that Russia described it as representing “the first digital most innovative Games is an amazing country, in which kindness and brand in the history of in history, which sincerity are always reflect the character the Olympic Move-

and jumbo-TV screens but work successfully on tablets and iPhones. At sochi2014.ru, users can view each day’s Olympic program and receive up-to-the-minute results, background information on each sport, and biographies of the athletes.

valued.” Quite a burden for one logo to carry. The symbol uses a typeface that resembles the Revue font, according to John Reinhardt, a book designer. Revue, designed in 1968 by Colin Brignall, is typically used for posters and billboards. These days, to woo the Internet generation, brand logos need to not only fit on posters, hats, clothing,

Sochi games’ press release: ”The Olympic patchwork quilt, developed by Bosco’s creative department and given to the

Sochi 2014 Organising Committee, will be the official Look of Russia’s first Winter Games. “Our goal was to repre-

Happiness, Greatness, Reliability, Victory, Creativity, Hospitality, Creation, Future, Russia, Planet Earth.” Every region in the world is proud of its unique origins, and it is no different in Russia. That is why there are so many different local traditions, songs and crafts that highlight the individuality of their creators, each valuable in its own right.

Sochi

sent a diverse range of emotions and feelings, connecting concepts like Motherland, Family, Culture, Time, Olympism, Peace, Nobility, Friends, Memory, Honour, Dreams, Beauty, Freedom, Pride, Warmth,

“In the concept design, every patch was infused with the history and personality of traditional crafts from each of Russia’s 89 regions. That is how we arrived at a modern, distinctive and unmistakeably Russian Look of the Games.”

Otl Aicher Otl Aicher’s involvement with the Olympics in Munich stemmed much from his advantageous network of personal

connections, contacts, and clients. Soon after Aicher met with Masaru Katsumie, who had been resonsible for the overall design concept of the 1964 Olympic Games in Tokyo. The two designer spent time at Aicher’s retreat, where they resolved fundamental organizational issues and devised what later became the basis for Aicher’s proposals for the 1972 Olympics. Aicher’s team chose

The poster’s that Aicher design were a primary feature of the graphic media to promote the Munch Olympiad. Aicher’s team hit on a form of ‘posterizaion’, applying the institutional colour palette they had devised. The designs were produced by making seperations of the tonal values of monochrome photographic images and converting these offical colours. As

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to build more aptly, simplif the pictograms developed for Tokyo in 1964, which depicted typical movement for

the various sports, An Aicher greatly benefitted from Katsumie’s assistance and experience.

graphics packages such as Photoshop were not available at the time, this was done manually and involved extensive manual retouching of the colour eperation films. The first poster t o be produced in this manner was a general poster (Below) featuring the stadium architecture. Poster image were prodiced

for each of the then officially recognised twenty-one Olympic sports plus some of specialist events.

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The symbols were designed using a set of standradized graphic elements arranged on a grid. All figures were created in a field consisting of a square with an orthogonal and diagonal grid.

coincidence.

Otl Aicher

Aicher adopted his signs from the earlier Tokyo olympics rather than Mexico City’s but applied a more simplified geometry.