First Entry: Olympic Design

In just under 75 days, the 2008 Summer Olympic Games will commence in Beijing, China. In an effort to dodge the load of ethical issues facing corporations in their sponsoring the XXIX Olympiad, brands have strived to salvage any lost brand equity by using imagery and graphics devoted to the spirit of the games themselves, rather than the politics behind them. Worldwide Olympic Sponsor Visa’s most recent commercial to promote the games emphasizes just that: “We don’t always agree, but for a few shining weeks, we set it all aside. We come together, to stand and cheer, and celebrate as one.”

I can’t help but notice how Visa purposefully and precisely integrated the Olympic rings into the commercial. The Olympic rings are so widely known that Visa could afford to wait until 30 seconds into the commercial to show the icon. In a 1995 survey given in six countries (Australia, Germany, India, Japan, Great Britain and the U.S.), 92% correctly identified the rings, making them the most-recognized symbol at the time (followed by 88% for McDonald’s and Shell, 74% for Mercedes, and 36% for United Nations). (SRI Sponsorship Research International). With such a high percentage, Visa can even afford to leave any and all visuals associated with the Visa brand for the end of the commercial, because featuring its logo next to the Olympic rings is the biggest possible payoff – the strongest and most positive brand association it can achieve in just 60 seconds of screen time. Also, Visa will undoubtedly present itself in the best light by putting the values of the Olympic Games before the sponsor’s selling line (that Visa is the only credit card accepted at the games).

So what makes the Olympic rings the most-recognized symbol in the world? Can it at least in part be due to its design? Baron Pierre de Coubertin, founder of the International Olympic Committee, chose five rings to represent the union of five continents and six colors (including the background white) that appeared in all the different national flags at the time. Was Coubertin a designer without even knowing it? When brands all around us are updating their logos and design aesthetics continue to evolve, why has the Olympics symbol remained the same since its creation in 1914? Even without the distinct colors of the rings, as featured in the Visa commercial, the Olympic rings remain powerfully recognizable.

Paul Rand believed that a logo “cannot survive unless it is designed with the utmost simplicity and restraint,” and perhaps, the Olympic rings perfectly exemplifies this. So how does a new city design an emblem every two years to accompany the rings in a way that honors both the tradition of the country and of that represented by the rings? If Visa’s commercial shows how the rings and a credit card logo can “Come Together,” how can a city and the Olympics do the same? While I argue that the Beijing logo does not stylistically complement the rings, it does successfully capture China’s heritage in artistic calligraphy, and it does share the rings’ simplistic design with the use of pictograms. Even the official mascots of the Beijing 2008 Olympic Games spread Chinese tradition and a message that stays true to the games.

So what happens if a city’s Olympic emblem shares neither the design aesthetic of the rings (see Mexico City’s 1968 emblem for a nice example) nor a part of the city’s heritage? Well, then you have the emblem for the London 2012 Summer Olympics and one hell of a backlash (not just from designers). “Available in four colors – pink, blue, green and orange – the new emblem is modern and will be dynamic, evolving in the years between now and 2012. It symbolizes the Olympic spirit and the ability of the Games to inspire people to take part,” the London Games’ website states. I am thankful that London finally acknowledges that these Olympic emblems are truly “brands,” but the logo design is an injustice to the Olympic rings, the history of the games, and London itself. Lisa Frank is probably the only one cheering at the revitalization of her favorite colors, but I can assure you that Coubertin is rolling in his grave. London’s flawed logo has helped show us that the Olympic Games not only celebrate hard work, team spirit, and fair play, but good design as well. Ultimately, design can also be universal, and as Visa suggests, helps us “come together.”

Here are some sources I consulted upon writing this entry:
Visa’s “Come Together” Commercial: http://www.youtube.com/watch?v=1V22PebTiik
Pierre de Coubertin: http://en.wikipedia.org/wiki/Pierre_de_Coubertin
Olympic Rings: http://en.beijing2008.cn/spirit/beijing2008/graphic/n214068255.shtml
Rand, Paul. Thoughts on Design. New York: Wittenborn: 1947
Beijing’s Emblem: http://en.beijing2008.cn/spirit/beijing2008/graphic/n214070081.shtml
Beijing’s Sports Pictograms: http://en.beijing2008.cn/spirit/beijing2008/graphic/pictograms/
Official Mascots of the Beijing Olympic Games: http://en.beijing2008.cn/spirit/beijing2008/graphic/n214068254.shtml
Olympic Emblems: http://en.beijing2008.cn/spirit/symbols/emblem/
London 2012 website: http://www.london2012.com/