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Sign in to our Contributor site. Please send me product announcements, helpful advice, and special promotions. Already have an account? Save to Collection Create your free account to use Collections Save and organize all the images you need for your projects with Collections.

Share Collections to anyone by email or to other Shutterstock users. Masaru Katzumie Graphic designer: The first systematically designed set of pictograms for both sports and services was created for the Games in Tokyo in by Masasa Katzumie as artistic director and Yoshiro Yamashita as graphic designer.

The Tokyo projekt included the design of 20 pictograms for the different sports and a further 39 general information pictograms. Examples of service pictograms.

Book presentation "Olympic Pictograms". A group of Olympic Identity Program designers collaborated on the creation of these symbols, which were employed to designate the events and installations for bboth the sports program and the Cultural Olympiad.

Official Report , Vol. Thirty-four different languages are spoken in Europe alone. For this reason it was necessary for the OC in the interest of international visitors not to limit itself to verbal information, but rather to take advantage of the possibility of generally intelligible pictorial symbols.

The OC also conceived a second visual system in addition to the sports symbols which were intended to serve as general information.

This system was constructed of pictograms — symbols which translate the message into visually understood picture language. It especially included directions to services, transportation and information which would make the flow of communication possible and also ease it.

Otl Aicher, design director for the Munich games, developed a set of pictograms of such breathtaking elegance and clarity that they would never be surpassed.

Aicher , founder of the Ulm design school and consultant to Braun and Lufthansa, was the quintessential German designer: The design system he developed for the Munich games, all geometry, grids and Univers 55, is perhaps his greatest achievement.

There were only four different traffic signs in Today there are more than The continually closer interrelation among traffic, information, the economy or tourism demands new methods of communication.

Often the very simplest verbal communication is frustrated because of a lack of the knowledge required for a language or alphabet. This is especially obvious at large international events at which visitors from every continent participate.

It was also a major task for the Munich organizers to design a system of visual symbols of universal intelligibility which would aid visitors in regard to information and communications.

Thus there are two systems; one being the sports symbols and the other being the pictograms for information regarding services and traffic which have been described already.

The sports symbols do not have the function merely to symbolize the individual athletic disciplines in the press, on television or medals and souvenirs, but they are simultaneously means of information regarding the sports sites and training areas of a specific sport.

With the aid of arrows the symbols pointed the way and designated those coaches and helpers responsible for a certain sport as well as the admission tickets, schedules, rules and regulations listings , etc.

After the first attempts at the Olympic Games in Melbourne, a closed system of symbols was conceived for the first time under the direction of Masaru Katsumi in for the Olympic Games in Tokyo.

The value of the system as a universally intelligible means of information instead of multilingual verbal messages was so effective that all succeeding Games would not be possible without such a system.

At the Olympic Games in Mexico City, the Mexican OC developed a system of symbols, which nevertheless had a more illustrative character and was based on sports equipment.

One team developed an "outside" sign concept, while a second group worked on a system for dividing the various stadiums into sections and seat arrangements, planning the signs needed.

In November, , the directorate was able to present the results of its research to the COJO executive committee.

The project later was part of the vast sign manual published in order to make everyone familiar with each element of the sign program, thus guaranteeing their rational and efficient application in conformity with the overall projection of the Olympic Games image.

The rules of composition for the panels were as follows: The pictograms designating the sports were in white on a red base; those related to services were white on a green base, and the letters in the texts and the arrows were.

Sports pictographs, as we know, are pictographic drawings symbolising sports. They serve as points of reference and help overcome language barrier.

Over the past few years, they have been integrated into the decoration of Olympic cities, and have been depicted in Olympic posters, commemorative medals, postage stamps, tickets, souvenirs, etc.

With the help of the resachr institute of industrial aesthetics, the Organising Committee chose the work submitted by Nikolai Belkow, Mukhina Art School graduate from Leningrad.

Though highly stylised, the new signs are easily comprehensible. Another merit of the new system is that the design can be adapted for use in four representations: The symbols for the Olympic games, held in Moscow, were designed by Nikolai Belkow , fresh out of art school.

In this production sketch that gives a behind-the-scenes look at the skeleton of each illustration. The review committee was given a presentation which surveyed the entire design development process used by Bright and Associates in creating the pictograms.

Beginning with a critique of the five previous Olympic pictograms, six criteria were isolated as essential to a successful pictogram: Pictogramms used on the exterior of the Coliseum are in Festive Federalism colors.

In the development stage, Bright and Associates sought to create pictograms that would be used primarily for directional signing purposes, a critical factor in the Los Angeles area since the events would be held at a variety of locations.

Therefore, it was essential that the pictograms communicate clearly and be highly visible. During the Games, the pictograms served primarily decorative purposes rather than as signing elements, but in , no one anticipated that this would be the case.

I These new pictograms met the specified criteria. They were easily seen at a distance and clearly communicated their message in a consistent manner using a system of modular forms and a common scale.

The system was also practical and flexible, allowing for a variety of positions to be created with a minimal number of design modifications and permitting reproduction in a positive or negative form, with or without a panel or border.

The design was distinctive, with the pure, geometric forms creating an idealized human figure which was memorable in appearance and free of stylistic fads.

Registration and copyright of the pictograms The 23 official pictograms were copyrighted and registered as trademarks by the LAOOC in Pictograms were produced to help overcome communication difficulty arising from different languages.

They were also intended to accentuate the unique image of the Seoul Olympic Games. Following the Asian Games, however, the SLOOC decided to develop new creative Olympic pictograms, clearly distinguishable from those used in past Games, so as to emphasize the refreshing image of the Seoul Olympics.

The work on the pictograms started in December , and 30 draft pictograms were produced in April , including 23 for the official sports, four for demonstration and exhibition sports, and three for torch relay, marathon, and water polo.

After two rounds of screening, the draft pictograms were approved as official pictograms in May The sports pictograms were distinguishable from the past Games by the division of the composition into trunk, arms, legs and head.

The connecting parts for arms and legs were treated in a simple and clear fashion but resembling as close to the composition of human frame as possible.

Sports pictograms were also utilized as elements of expression in various public relations and printed materials, including decoration, admission tickets for each sport and posters.

Funktional pictograms helped guide visitors to transportation and other services. In September , the SLOOC organized an in-house production team to begin the work on the guide pictograms; final designs of the guide pictograms covering 70 types were compledtd in January , and were used during the Seoul Asian Games.

In preparation for the Seoul Olympic Games, eight types were additionally produced in September The guide pictograms were designed in forms to enliven the image of the Seoul Olympic Games and to be easily understood by all concerned.

Pictograms had been widely used since Munich in The person in overall charge of the visual style of those Games was the great designer Otl Aicher, under whose direction a series of sports and services pictograms were created from a basic geometric formula.

They became so widespread as to be practically universal.

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