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Designers developed a set of pictograms-simple pictorial symbols used instead of written words-to identify important events and locations for audiences that spoke different languages. Tokyo’s brand identity, created by Yusaku Kamekura, became a template for the future of visual communication. The designs for the 1964 Games in Tokyo famously represented a post-war Japanese resurgence, using modern design techniques that attempted to both honor and revitalize Japanese historical tradition. Host cities imprint their own identity onto pre-established Olympic and Paralympic brands, conveying messages of national pride while maintaining the universality of the traditional Olympic intersecting rings and the Paralympic agitos-three asymmetric crescents that symbolize spirit in motion. Artists, architects, urban designers, art directors, and designers of all types were welcomed into the world of modern Olympic graphic identity planning. Olympic design expanded in scope from mere logos and posters to complex systems of visual communication and branding.

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As the influence of consumer culture rose during post-World War II decades, leaders within the International Olympic Committee abandoned their dedication to amateurism in favor of the financial prospects of corporate sponsorships and the professional sports industry. It is meant to project a unified visual identity for the Games and for the host city, and is applied to merchandise and media.ĭesign has been integral to the Olympics since the first modern Olympic Games in 1896. The brand identity of each Games consists of a distinct logo, torches, mascots, and medals, among other things. The designs must communicate relatively simple features, such as the year and the geographic location, in addition to incorporating the enduring Olympic logo–the five rings. Logos for the Games strive to capture the distinct culture of the host city while presenting universal iconography and imagery that resonates with the global audience they attract.

These identities must represent a global franchise and seek to accomplish seemingly conflicting goals: they must be unique and universal, local and global, singular and timeless. Atlanta’s was no different.Ĭreating the brand identities for the Olympic and Paralympic Games is one of the most rigorous and respected projects in the graphic design industry. Regardless of their level of success, each Olympic brand identity is steeped in historical meaning, reflecting the political atmosphere, spirit, and trends of the time and place. Some identities prove timeless and linger in the graphic tradition of the city they represent others are forgotten. Often, the public reaction is very strong, either overwhelmingly positive or fiercely negative. Unlike many other brand identities, every four years the Games’ identity is thrust into the center of a global conversation with an international audience.

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As is true with previous Games, the stories behind the creation of this visual language are as complex and compelling as the design process itself, full of struggle, innovation, and competition. Like all the committees before it, the Atlanta Committee for the Olympic Games (ACOG) set out to discover how they would communicate their message-and the message of Atlanta-to the world. Atlanta wasn’t just the host city-it was the city of the century. They also needed to develop an identity that commemorated the 100 th anniversary, or centennial, of the modern Olympic Games. Designers needed to create a system that highlighted the history and culture of the American South while showcasing the host city. The 1996 Olympic and Paralympic Games presented Atlanta with a unique design opportunity. Detail of proposed Olympic graphics for Atlanta-Fulton County Stadium, Look of the Games committee presentation board | Atlanta Committee for the Olympic Games, circa 1994 | Gift of Brad Copeland, 2007

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