Pictograms for the 1964 Tokyo Olympic, designed by Katsumi Masaru.
The Olympic Games exemplify the necessity of graphic communication transcending language barriers. While we often take the small icons of swimmers and sprinters for granted as part of Olympic design, these pictograms were actually a mid-20th-century innovation, first introduced during the London Games in 1948..*
The 1948 London pictograms were not a system of communication so much as a series of illustrations depicting each of the competitive sports, as well as the arts competition, which existed from 1912 to 1952 and included architecture, literature, music, painting and sculpture! Medals were awarded for each of these Art practices, as long as they were inspired by sporting events.
The simplified designs of Olympic pictograms, along with the diverse interpretations crafted by each host country since 1948, provide a rich, cultural, and relevant way for students to engage with this international event. There are numerous ways for students to create artworks inspired by these pictograms. One effective approach is to have students choose their favourite Olympic sport and design a corresponding pictogram, which promotes independence and celebrates their creative voices.
For a one-hour lesson, I would ask students to create three designs for three different sports, unified by a common visual motif. The goal would be to complete at least two designs during the lesson, with the third assigned as homework. These student creations could also serve as an engaging starter quiz for the next lesson.
In 1964, the Tokyo games took pictogram design to the next level by creating a complete system of typography, colours and symbols that would be applied across Olympic communications platforms. Since Tokyo 1964, pictograms have been a staple of the Olympics with each host city creating their own version of the pictograms to further the visual identity of their Olympic Games.
Pictograms for gendered loos, designed by Katsumi Masaru in 1964.
This was the first instance where universal symbols were used to designate gendered spaces in toilets. To promote inclusive pedagogy, I would present this as an example of a familiar symbol, demonstrating the potential of pictograms to communicate ideas beyond sports. However, when assigning students to create their own pictograms, I would ensure that their designs depict non-gendered activities, such as sports or games.
This gender-sensitive approach can be positively framed by emphasising that abstraction promotes inclusion. For instance, within the success criteria, students can be asked if their designs are abstract enough to be recognised as inclusive of a diverse range of people.
For icons to be 'good' (effective at communicating their intended meaning), they need to be functional above all else. To be functional, they need to be:
Easily recognisable
Simple
Scalable
Clearly understood without words
This criterion is foundational in graphic design, they can help to explain modern phenomena such as the simplification of brand logos and the principles of flag design.
The effectiveness of the Paris 2024 Summer Olympics' pictograms has been a subject of debate.
Each pictogram is designed to be part of a cohesive set, sharing characteristics that create a unified visual identity. However, France has taken a different approach for this year's Olympic pictograms by incorporating an 'X' motif. This motif is evident in the archery and badminton pictograms below. While this design choice works well for some sports, it limits the readability of others by forcing them into a rigid structure. This results in less clear designs, such as the centre icon in the top row and the bottom right icon, both representing forms of gymnastics.
Understanding Abstraction
Strictly speaking, the word abstract means to separate or withdraw something from something else.
The term can be applied to art that is based on an object, figure or landscape, where forms have been simplified or schematised.
Consider the London 2012 image for cycling, ask students what elements might have been removed from this design to make it more abstract/ more effective as a graphic image.
This exercise can also be delivered through a side-by-side comparison to a HD olympic cycling photograph.
The Bicycle frame - The wheels are enough on their own to communicate that this is a bike!
The features of the cyclist - hands, feet, face, etc, and yet we can still tell this is a person!
The racetrack/audience - What is the simple message of the symbol? is the background necessary in this message?
Students that struggle with drawing detailed elements can feel encouraged and succeed in this lesson as it celebrates omission of detail. For advanced students, they can be encouraged to put into writing, their identity as graphic designers or continue to make four or six different designs.
In response to overly 'simple' tasks, however, it can be common for some less engaged students to complete the bare minimum in a matter of seconds and state that they are finished for the lesson.
In anticipation of this, we can acknowledge the accessibility of the task and then look to methods of 'complicating' this inquiry to producing a richer lesson.
This is where the creative project shines, framing the lesson under a narrative of commission, where they are asked to generate lots of ideas for the next olympic games (Los Angeles' Summer Olympic & Paralympic games 2028/ 2026 Winter olympics in Italy).
Introducing its cultural element, inspires a broader investigation, perhaps of significant artists, asking students how those artists may design the pictograms.
Below I will give three examples of American artists that we can look to for reference in consideration for designing the next olympic pictograms.
Keith Haring
Keith Haring's style, with its bold lines, vibrant colours, and dynamic figures, would be ideal for the 2028 Summer Olympic pictograms. His clear, recognisable forms ensure legibility, and his universal, motion-filled designs capture the excitement of the games. Haring's art also aligns with the Olympics' themes of unity and diversity, making it culturally and visually fitting for the event in Los Angeles.
Jean Michel Basquiat
Basquiat would be an excellent choice for designing the Olympic pictograms due to his distinctive neo-expressionist style that incorporates vibrant colours and bold, dynamic forms. His art blends abstract and figurative elements could create pictograms that are both visually striking and expressive, capturing the energy and excitement of the games. Basquiat's work often conveys strong, impactful messages, which can be discussed with students so they understand the context of the art they are shown. Additionally, his influence in the art world and cultural significance would bring a contemporary and edgy flair to the visual identity of the 2028 Summer Olympics.
Elizabeth Catlett
This artists could be an excellent reference for designing the 2028 Olympic pictograms due to her powerful and emotive artistic style. Catlett’s work often focuses on themes of strength, perseverance, and the African American experience. She conveys emotion and dignity through clear forms would translate well into pictograms that need to be both visually striking and easily recognisable. Additionally, Catlett’s emphasis on social justice and cultural identity aligns with the Olympic values of unity, diversity, and excellence and the tonal contrast in her work could translate well to graphic design.
Resources:
This website documents well the development of the pictograms over time, it can be fun to browse through and see all the different styles over the years. This may be a valuable resources for students to browse through also,
It can also be valuable to see the pictograms used for other similar events, especially the Paralympic games and the winter olympic games to be inclusive to all students in your classrooms.
(Athens, Fencing, Paralympic Games, 2004)
(Atlanta, Fencing, Paralympic Games, 1996)
*[some pictographic gestures were made at the 1936 Berlin games, though their mark on international memory has been permitted to fade because of their association with the Third Reich. Although admittedly there does not seem to be any relation of the ideology communicated in the icons.].
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