The Emblems of The Olympic Games Editions From Paris 1924 To Los Angeles 2028

OSC REFERENCE COLLECTION
Sharing history, enriching the future
The emblems of the

Olympic Games
editions from Paris
1924 to Los Angeles
2028
16.04.2021
The emblems of the Olympic Games editions
from Paris 1924 to Los Angeles 2028
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The emblems of the Olympic Games editions from Paris 1924 to Los Angeles 2028
CONTENT
Introduction 6
Paris 1924 8
Lake Placid 1932 9
Los Angeles 1932 10
Garmisch-Partenkirchen 1936 11
Berlin 1936 12
London 1948 13
Oslo 1952 14
Helsinki 1952 15
Cortina d’Ampezzo 1956 16
Stockholm 1956 17
Melbourne 1956 18
Squaw Valley 1960 19
Rome 1960 20
Innsbruck 1964 21
Tokyo 1964 22
Grenoble 1968 23
Mexico 1968 24
Sapporo 1972 25
Munich 1972 26
Innsbruck 1976 27
Montreal 1976 28
Lake Placid 1980 29

Moscow 1980 30
Sarajevo 1984 31
Los Angeles 1984 32
Calgary 1988 33
Seoul 1988 34
Albertville 1992 36
Barcelona 1992 37
Lillehammer 1994 38
Atlanta 1996 40
Nagano 1998 41
Sydney 2000 43
Salt Lake City 2002 44
Athens 2004 46
Turin 2006 47
Beijing 2008 49
Vancouver 2010 50
London 2012 52
Sochi 2014 54
Rio 2016 56
PyeongChang 2018 57
Tokyo 2020 59
Beijing 2022 61
Paris 2024 62
Milano Cortina 2026 64
Los Angeles 2028 65
Credits 67

INTRODUCTION
These days, each edition of the Olympic Games has its own official emblem. Created by the
organising committee, this emblem typically features elements that represent or symbolise the
Games host, in addition to specific Olympic elements such as the rings or the name and year of
the relevant edition. The Games emblem is as much a vital component of their visual identity as
the mascots and pictograms.
Since the first Olympic Games of the modern era in Athens in 1896, visual elements have been
produced to customise and exemplify the Games, e.g. the medals and diplomas presented to
the winners. However, it is difficult to determine the exact date of the very first Games emblem.
Indeed, there was no specific definition at the time. While some symbols or designs were used
more or less recurrently by certain organising committees, it is impossible to determine with
certainty if one of them was actually an official emblem. However, from the 1920s, the trend of
having one overriding symbol emerged. The first emblem identified and presented in this
document is therefore the Paris 1924 one. This is followed by those designed for the two Games
editions in 1932, in Lake Placid and Los Angeles. Today, the definition of an emblem in the
Olympic Charter (2020, Rule 11) is as follows: “An Olympic emblem is an integrated design
associating the Olympic rings with another distinctive element”. Furthermore, the Operational
Requirements of the Host Contract 1 state that the emblem must contain the following three
elements: a design element that reflects the culture and values of the host city/country; the
Games signature (name of the city and the year of the Games); and the Olympic symbol (the
Olympic rings).
These days, the emblem is one of the very first graphical elements chosen as part of the visual
identity of a Games edition. It is thus the fundamental identifier, appearing on most
communication material and platforms, both physical and digital, as well as at competition
venues and across the host city. It is also used by the various rights-holding partners of the
organising committee and the International Olympic Committee. Due to its importance, the
emblem influences and has a bearing on other elements of the general visual identity of the
Games – their hues, shapes and colours. Its design and launch are therefore the focus of great
attention. Such was the case, for example, for the Rio 2016 Games, whose Organising
Committee unveiled the emblem on Copacabana Beach on 31 December 2010 to a crowd of
two million people. 2
Throughout their history, the Games emblems have all stood out in their own unique way. In
terms of the figurative elements used, besides the references to iconic features of the Games
host, we can also see the use of stylised characters and Olympic symbols, such as the flame;
universal symbols, such as stars; and traditional ones, such as the chequerboard design for
Tokyo 2020. The Winter Games emblems often feature snowflakes or crystals, winter sports
and shapes that depict the mountains and winter landscapes. The choice of colours is often
inspired by the geography of the host city and regions.
1
Host City Contract – Operational Requirements, International Olympic Committee, June 2018, BIL-04, p. 39.
2
“Rio 2016 Olympic Games emblem is launched during the Copacabana Beach New Year’s Eve party”, news, website
of Rio 2016, 1 January 2011.

For each edition of the Summer and Winter Games, this document presents one picture of the
emblem – the so-called “primary” or “preferred” version. Often, several versions of the emblem,
e.g. in different colours, are produced, depending on the concept chosen by the organisers.
Unlike the first emblems, today’s meet strict graphic standards that set out precisely how they
can be used. These standards can be accessed in our online catalogue, the Olympic World
Library. The emblems are accompanied by information, where available, on the designers, their
symbolism and the context in which they were created.
The candidates for the organisation of an Olympic Games edition also often design one or
several emblems over time in order to give their project an identity. Once the Games are
awarded, a new emblem is usually created, although sometimes the organising committee
decided to keep the concept used for the candidature. This was, for example, the case for the
Winter Games in Calgary in 1988 and in Albertville in 1992.
Like for the Games emblems, it is difficult to say exactly when the first emblem was created
specifically for a candidature. Such emblems seem to have emerged in the early 1980s. For
these years, we have included the emblems that appeared specifically on the candidature
documents. For the more recent ones, we have usually presented the most recent or more
widely used version.

PA R I S 1 9 2 4
GAMES EMBLEM
Description: The emblem is inspired by the coat of arms of the City of Paris, with the
wording “VIIIe. Olympiade Paris 1924” and “Comité Olympique Français”.
The origin of the coat of arms dates back to the Middle Ages. The main
element is a sailboat floating on the waves.
The emblem sometimes appeared differently on the objects and

publications linked to this edition of the Games. For example, in some
versions it had three sails instead of two, or a plain background instead of
a shaded one.
SOURCE
‒ “Histoire et mémoire – “Fluctuat nec mergitur”: un blason et une devise pour Paris”, website
of the City of Paris, updated on 16 August 2019.

LAKE PLACID 1932
GAMES EMBLEM
Designer: Witold Gordon
Description: The emblem features the same picture as the official poster for this edition
of the Games, created by Witold Gordon. The silhouette of a ski jumper
stands out over a map of the USA, on which Lake Placid is indicated.
SOURCES
‒ III Olympic Winter Games, Lake Placid 1932: Official Report, Lake Placid: III Olympic Winter
Games Committee, 1932, p. 94.
‒ “Lake Placid 1932 – Poster”, website of the International Olympic Committee (2020).

LOS ANGELES 1932
GAMES EMBLEM
Description: In front of the US flag in the shape of a coat of arms with 13 stars lie the
Olympic rings, a branch and the Olympic motto, “Citius, Altius, Fortius”
(faster, higher, stronger). The wording “Xth Olympiad Los Angeles”
completes the emblem.
On the various materials and documents on which it featured, the emblem

appeared in different ways, whether in terms of the presentation of the
various elements, i.e. the rings, the branch and the coat of arms, or the text
itself – “Xth Olympiad Los Angeles” – which was written in different fonts,
placed in different areas or simply missing.

G A R M I S C H - PA R T E N K I R C H E N 1 9 3 6
GAMES EMBLEM
Designer: Fritz Uhlich
Description: The emblem features the Alpspitze, a mountain in the Garmisch-

Partenkirchen region. The snowy peak is marked with ski tracks. The
Olympic rings lie in the foreground. The text “IV Olympische Winterspiele
1936 Garmisch-Partenkirchen”, in a circular shape, completes the
composition.
Creation and On 27 June 1935, at a meeting of the Publicity Commission for the Games,
launch: Fritz Uhlich’s design was approved as the official emblem.
SOURCES
‒ “Garmisch-Partenkirchen 1936 – Emblem”, website of the International Olympic Committee

(2020).
‒ “IV Olympic Winter Games Garmisch-Partenkirchen 6th – 16th February 1936. Winter Games
Badge”, Olympic Games - News Service, Berlin 1936 Organising Committee, no. 21, 30 July
1935, p. 5.
‒ IV Olympische Winterspiele 1936: Garmisch-Partenkirchen 6. bis 16. Februar: Amtlicher
Bericht, Organisationskomitee für die IV. Olympischen Winterspiele 1936 Garmisch-
Partenkirchen, Reichssportverlag, 1936, p. 50.

BERLIN 1936
GAMES EMBLEM
Designer: Johannes Boehland
Description: The emblem is made up of a bell bearing the wording “Ich rufe die Jugend
der Welt !” (I summon the youth of the world!), an eagle and the Olympic
rings. The emblem was also used without the text “XI. Olympiade Berlin
1936” or even sometimes without the wording on the bell.
Creation and Following the establishment of the Organising Committee at the end of
launch: 1932, several options were considered for the Berlin 1936 Games emblem.
In the end, it was Organising Committee President and IOC member
Theodor Lewald’s idea to use a bell that prevailed. The idea came about
somewhat by chance. Artist Johannes Boehland had created a design with
an eagle, the Olympic rings and the Brandenburg Gate, the famous Berlin
landmark. Not completely satisfied with this, Lewald modified it and came
up with a bell. Boehland then created a new design incorporating the
concept of the bell. The phrase “Ich rufe die Jugend der Welt !” was inspired
by the words which feature on a 15th century bell in the town of
Schaffhausen in Switzerland that writer Friedrich von Schiller used in one
of his poems.
SOURCE
‒ The XIth Olympic Games Berlin, 1936: Official Report, Berlin: W. Limpert, 1937, vol. 1,
pp. 46, 111-112.

LONDON 1948
GAMES EMBLEM
Description: The emblem comprises the Palace of Westminster – the UK Houses of

Parliament – the Olympic rings, and the words “XIVth Olympiad” and
“London 1948”. At the top of the tower, Big Ben points to 4 o’clock, the time
at which the Games were declared open at the Opening Ceremony.
Certain versions of the emblem featured variations in the design of the

elements or their position.
SOURCE
‒ The official report of the Organising Committee for the XIV Olympiad, Organising Committee
for the XIV Olympiad, London, p. 22.

OSLO 1952
GAMES EMBLEM
Designer: Gunnar Furuholmen
Description: In the centre of the emblem, on a sky-blue background, is a representation

of Oslo City Hall, which was inaugurated in 1950. The Olympic rings stand
out in front of the building and its two distinctive towers. Around the central
blue circle is the wording “De VI. Olympiske Vinterleker Oslo 1952”.
Creation and A sub-committee was specially set up to devise a Games emblem and
launch: poster. A public competition was organised for the emblem. The sub-
committee selected Furuholmen’s design from among 335 entries.
SOURCES
‒ VI Olympic Winter Games Oslo 1952, Organisasjonskomiteen, Oslo, c. 1953, p. 78.

‒ “The City Hall”, website of the City of Oslo.

HELSINKI 1952
GAMES EMBLEM
Description: The emblem drew inspiration from the Helsinki Olympic Stadium, with its
distinctive 72-metre-high tower. It also contains the Olympic rings and the
wording “XV Olympia Helsinki” and “1952”.
There were several variations of the emblem, with the rectangular

background in other hues or the rings in monochrome.
SOURCE
‒ The official report of the Organising Committee for the Games of the XV Olympiad Helsinki
1952, Organising Committee for the Games of the XV Olympiad Helsinki 1952, London,
1955, p. 111.

CORTINA D’AMPEZZO 1956
GAMES EMBLEM
Designer: Franco Rondinelli
Description: The Olympic rings with a white star and the Pomagagnon mountain, which
overlooks Cortina d’Ampezzo, appear in the centre of the emblem. The
positioning of the star in relation to the rings is similar to the emblem of the
Italian National Olympic Committee at the time. The text, “VII Giochi
Olimpici Invernali Cortina 1956”, written in a circular shape, and a stylised
snowflake edging complete the design. There were also simplified versions
of the emblem without the colour fill. Some of them did not contain the star
above the rings. Others, such as the official poster, featured the village of
Cortina and its church bell tower at the foot of the mountain.
Creation and The emblem was selected after a competition launched by the Italian NOC.
launch: The entries had to exemplify the idea of Olympic winter sports and contain
a reference to Cortina d’Ampezzo. The designs could have a maximum of
five colours and be able to be reproduced in black and white. A jury
assessed the 86 entries submitted by 79 participants. Although two shared
the first prize, it was Rondinelli’s design that was used as the emblem for
this edition of the Games.
SOURCES
‒ “Cortina d’Ampezzo – Emblem”, website of the International Olympic Committee (2020).

‒ VII Giochi olimpici invernali, Cortina d'Ampezzo, 1956 = VII Olympic Winter Games, Cortina
d'Ampezzo, 1956, Rome: Comitato olimpico nazionale italiano, c. 1957, pp. 210-212, 472-
473.

STOCKHOLM 1956
GAMES EMBLEM
Designer: John Sjösvärd
Description: This emblem was created for the equestrian events of the Games of the
XVI Olympiad, which were held in Stockholm and not Melbourne, owing to
Australian veterinary rules on equine quarantine. It features the same horse
rider used on the official poster designed by Sjösvärd for the same events.
The emblem also features the Olympic rings, which form a base on which
the horse stands. There were other versions of the emblem, with, for
example, the text in a different place or the addition of an oval frame.
SOURCES
‒ Karl Lennartz, Walter Borgers, Andreas Höfer, Olympische Siege – Medaillen, Diplome,
Ehrungen, Sport Verlag. Berlin, 2000, p. 288.
‒ The Official Report of the Organizing Committee for the Equestrian Games of the XVIth
Olympiad, Stockholm 1956, Organisationskommittén för den XVI Olympiadens
Ryttartävlingar, 1959, n. p.

MELBOURNE 1956
GAMES EMBLEM
Description: The emblem contains a depiction of Australia on which there is an Olympic

torch positioned above where you find the city of Melbourne. It features the
Olympic rings and the wording “XVI Olympiad” and “Melbourne 1956”.
SOURCE
‒ “Les insignes olympiques”, Bulletin officiel: XVI Olympiad, Organising Committee of the XVI
Olympiad Melbourne 1956, December 1954, p. 3.

S Q U AW VA L L E Y 1 9 6 0
GAMES EMBLEM
Designer: Knollin Advertising Agency, San Francisco
Description: The emblem is made up of three overlapping triangles with the Olympic
rings in the foreground. It includes the wording “VIII Olympic Winter
Games, California 1960”, and the colours are taken from the US flag.
However, certain versions featured different colours with, for example,
yellow triangles rather than white ones.
Creation and The emblem was selected from among over 600 preliminary designs. The
launch: design chosen is characterised by its simplicity and flexibility.
SOURCES
‒ IOC Historical Archives/Olympic Games – Squaw Valley 1960 – Emblem – 1960.

‒ “The official symbol for the VIIIth. Olympic Winter Games”, Bulletin du Comité International
Olympique, no. 62, May 1958, p. 40.

ROME 1960
GAMES EMBLEM
Description: The emblem is inspired by the famous bronze sculpture, the Capitoline
Wolf, kept at the Capitoline Museums in Rome. The she-wolf is a Roman
symbol that dates back to ancient times. The sculpture depicts a scene from
the legend of the twins Romulus and Remus where the she-wolf suckled
them. Below the she-wolf, in reference to the year of the Games in Rome,
is the Roman numeral MCMLX (1960). The emblem is completed by the
Olympic rings.
Creation and The Organising Committee’s choice of the Capitoline Wolf as an emblem
launch: was mentioned in its official bulletin of August-September 1958.
SOURCES
‒ “Hall of the She-wolf”, website of the Musei Capitolini.

‒ “Symbol of the Games of the XVII Olympiad”, Official Bulletin: Games of the XVII
Olympiad 25.VIII – 11.IX – MCMLX – Roma, Organising Committee of the Games of the
XVII Olympiad, no. 5, July-September 1958, p. 16.

INNSBRUCK 1964
GAMES EMBLEM
Designer: Arthur Zelger
Description: The emblem is made up of the Olympic rings, the words “Innsbruck 1964”
and the city’s coat of arms which, on a red background, features a view of
the bridge that lends its name to Innsbruck (literally: a bridge over the River
Inn).
From the organisers’ point of view, the symbol of the bridge over the Inn
took on new meaning with the Games by embodying the rapprochement
between peoples and the union of the sporting youth within the framework
of peaceful competitions.
Creation and The Organising Committee wanted to find a concept that best combined the
launch: three elements that it wanted on the emblem: the Olympic rings, the wording
“Innsbruck 1964” and the city’s coat of arms. It chose Professor Zelger, who
had won second prize in a contest organised for its part by the Ministry of
Education. The emblem was unveiled publicly on 30 January 1961.
SOURCES
‒ Offizieller Bericht der IX. Olympischen Winterspiele Innsbruck 1964, Organisationskomitee

der IX. Olympischen Winterspiele in Innsbruck 1964, p. 325.
‒ “The Emblem”, XI. Olympische Winterspiele Bulletin, no. 1, September 1961, p. 10.

TOKYO 1964
GAMES EMBLEM
Designer: Yusaku Kamekura
Description: This is a reinterpretation of the rising sun symbol that features on the flag
of Japan. The emblem reiterates the symbol’s simplicity, while combining it
with the Olympic rings and the words “Tokyo 1964”.
Creation and The emblem was chosen in June 1960 from a series of proposals submitted
launch: by a small group of Japanese designers selected for this occasion.
SOURCES
‒ The Games of the XVIII Olympiad, Tokyo 1964: The Official Report of the Organizing
Committee, Organising Committee for the Games of the XVIII Olympiad, 1966, vol. 1, pp.
353, 473.
‒ Tokyo Olympics: Official souvenir, 1964, Dentsu, Tokyo, 1964, p. 141.

GRENOBLE 1968
GAMES EMBLEM
Designer: Roger Excoffon
Description: In the centre, above the Olympic rings, is a snow crystal, in reference to
winter. It is formed of elements that look like stylised rose leaves. The three
red roses on the city’s coat of arms are placed around the crystal. The words
“Xes Jeux Olympiques d’hiver – Grenoble 1968” surround the composition.
Creation and The Organising Committee acquired the emblem created by Excoffon in
launch: January 1965.
SOURCES
‒ Grenoble 68: X Winter Olympic Games: Official Report, Organising Committee for the X
Winter Olympic Games, 1969, p. 128.
‒ Guide officiel des Xèmes Jeux Olympiques d'hiver: du 6 février au 18 février: Grenoble 1968,
Organising Committee for the X Winter Olympic Games, p. 8.

MEXICO 1968
GAMES EMBLEM
Designers: Pedro Ramírez Vázquez, Lance Wyman, Eduardo Terrazas
Description: The first essential element of the emblem is the combination of the Olympic
rings and the figure “68”, the year of the Games, completed by the letters
that form “Mexico”. Then came the idea to repeat the lines of the emblem
ad infinitum, like radiating projections emanating from it or a reminiscence
of the art of the indigenous Mexican Huichol people. This idea was used to
create various elements of the visual identity for these Games, including the
official poster. The emblem was designed at a time when the op art
movement, which used optical illusions, some of which were based on
repeating lines, was influential.
Creation and In its official bulletin of October 1964, the Organising Committee presented
launch: a rectangular Games emblem that represented the Sun Stone, a famous
Aztec artwork. However, this was later replaced by the emblem above.
SOURCES
‒ Boletin oficial XIX Olímpiada, Organising Committee of the Games of the XIX Olympiad, no.
1 October 1964, n. p. and no. 9, c. 1967, p. 10.
‒ Mexico 68, Organising Committee of the Games of the XIX Olympiad, vol. 2, p. 306.
‒ Mexico City 1968: A visual challenge of identity: Interview with Beatrice Trueblood, video,
The Olympic Museum, 16 May 2018.
‒ Mexico City 1968: Pre-Columbian heritage fused with modernity: Interview with Eduardo
Terrazas, video, The Olympic Museum, 16 May 2018.

SAPPORO 1972
GAMES EMBLEM
Designer: Kazumasa Nagai
Description: The emblem is formed of three elements: the rising sun symbol featured on
the national flag, a snowflake inspired by the coat of arms of an ancient
Japanese family, and the Olympic rings combined with the term
“Sapporo’72”. The choice to re-use the rising sun symbol, which already
featured on the Tokyo 1964 Games emblem, was explained by a desire for
continuity and to associate the Japanese people as a whole with the
Sapporo Winter Games.
The concept of having three distinct and independent elements meant it

could be adapted depending on its use. There was therefore also a
horizontal version of the emblem, as well as a square one.
Creation and It was in October 1966 that Kazumasa Nagai’s proposal was chosen from
launch: among those put forward by eight leading Japanese designers.
SOURCES
‒ Sapporo Olympic Winter Games 1972: Official commemorative issue, Organising

Committee for the XI Olympic Winter Games Sapporo 1972, 1972, p. 186.
‒ The XI Olympic Winter Games Sapporo 1972: official report, Organising Committee for the
XI Olympic Winter Games Sapporo 1972, 1973, pp. 340, 342.

MUNICH 1972
GAMES EMBLEM
Designer: Otl Aicher
Description: The emblem represents a wreath of rays with a superimposed spiral. Simple
in shape, it has a universal and timeless scope.
Creation and In September 1966, the Organising Committee appointed a commission to

launch: create the emblem. This was chaired by designer Otl Aicher, who later
headed the Visual Design Department at the Organising Committee. In
September 1967, Aicher presented a project named “Wreath of Rays”.
However, the Organising Committee wanted to receive other proposals
before making a decision. A contest was thus launched at the end of 1967.
It was open to as many people as possible, and invitations were sent
specifically to famous artists. As none of the 2,332 entries were deemed to
be satisfactory, a group of experts studied new options. Finally, it was a
variation of Aicher’s original project, a wreath of rays with a superimposed
spiral, that was chosen.
SOURCE
‒ Die Spiele: the official report of the Organizing Committee for the Games of the XX Olympiad
Munich 1972, Organising Committee for the Games of the XX Olympiad Munich 1972, 1974,
vol. 1, pp. 269-270.

INNSBRUCK 1976
GAMES EMBLEM
Designer: Arthur Zelger
Description: The emblem is made up of the Olympic rings, the words “Innsbruck 1964”
and the city’s coat of arms which, on a red background, features a view of
the bridge that lends its name to Innsbruck (literally: a bridge over the River
Inn).
With the holding of the Winter Games in Innsbruck for the second time after
the 1964 edition, the bridge over the River Inn was once again associated
with the Olympic rings with the emblem. Thus, the organisers’ interpretation
of the bridge as a symbol of the rapprochement between peoples thanks to
the coming together of Olympic athletes is reiterated.
Creation and The Organising Committee chose to reuse the Innsbruck 1964 Games
launch: emblem, modifying it slightly.
SOURCES
‒ Bulletin: XII. Olympische Winterspiele Innsbruck 1976, Organising Committee for the XII
Winter Olympic Games 1976 at Innsbruck, no. 2, December 1973, p. 15.
‒ Final Report: XII. Olympische Winterspiele Innsbruck 1976, Organising Committee for the
XII Winter Olympic Games 1976 at Innsbruck, 1976, p. 395.

MONTREAL 1976
GAMES EMBLEM
Designer: Georges Huel
Description: Simple and clear, the emblem contains the Olympic rings, from which a
shape that resembles a podium rises up. This shape also forms an
interpretation of the letter “M” for Montreal. The oval in the middle
represents an athletics track. The emblem evokes universal brotherhood,
the glory of the winners and the sporting spirit that drives them.
Creation and The emblem was selected in May 1972 and unveiled on 22 August the same
launch: year in Munich to 4,000 media representatives.
SOURCE
‒ Games of the XXI Olympiad Montréal 1976, Official Report, Organising Committee for the
Olympic Summer Games Montreal 1976, 1978, vol. 1, pp. 46, 314, 367.

LAKE PLACID 1980
GAMES EMBLEM
Designer: Robert W. Whitney
Description: At the bottom part of the emblem, the lines create a mountain shape that
evokes those surrounding the valley in which the village of Lake Placid is
situated. On the left, the lines go up vertically, like an iconic column. The
upper part of the column has two cavities that symbolise two Olympic
cauldrons, a reference to the Winter Games in Lake Placid in 1932 and
1980. At the top, detached from the column, are the Olympic rings. This
positioning indicates that the Olympic Movement and its ideals remain
above everything, thanks to the Games and the participating athletes. The
pared-down style of the emblem reminds us that an athlete’s top aspiration
is to realise the dream of participating and succeeding at the Games.
Creation and The Organising Committee wanted a simple emblem, symbolising winter,
launch: reflecting its faith in the longevity of the Games and the Olympic ideals. It
turned to artist Robert Whitney, originally from Lake Placid, to obtain
proposals from among which the Games emblem was selected and
finalised.
CANDIDATURE Featuring a snowflake in front of a mountain,

EMBLEM: this symbol, with the Olympic rings in colour
or black and white, featured on the Lake
Placid candidature documents for the 1980
Winter Games.

SOURCES
‒ Lake Placid: United States candidate for the XIII Winter Olympic Games 1980, Lake Placid
1980 Winter Olympic Games Bid Committee, 1974.
‒ Second report, Lausanne Switzerland, May 19-24 1975, Organising Committee for the XIII
Olympic Winter Games, 1975, pp. 76-77.
MOSCOW 1980
GAMES EMBLEM
Designer: Vladimir Arsentiev
Description: The emblem is inspired by the lines on an athletics track, which rise up and
form a silhouette that resembles certain emblematic Moscow buildings.
Creation and The Organising Committee launched a competition for the Games emblem,
launch: which ran from 1 June to the end of 1975. The emblem had to include the
Olympic rings and a graphic symbol representing the host city. Over 26,000
designs, produced by professionals and amateurs, were submitted from a
dozen countries. A jury selected the winner.
SOURCES
‒ Games of the XXII Olympiad: Official Report of the Organising Committee of the Games of
the XXII Olympiad, Moscow, 1980, Moscou: Fizkoultoura i Sport, 1981, vol. 2, p. 418.
‒ Rapport du Comité d’organisation des Jeux Olympiques de 1980 à Moscou à la 78e Session
du Comité International Olympique, Montréal 15.07.76, Organising Committee of the
Games of the XXII Olympiad, 1976, p. 24.

SARAJEVO 1984
GAMES EMBLEM
Designer: Miroslav Roko Antonic
Description: A symbol whose shape resembles a snowflake or a traditional needlework

pattern from the Sarajevo region is combined with the Olympic rings.
Creation and The organisers decided to re-use their candidature emblem (presented
launch: below) by slightly modifying it to form the Games emblem.
CANDIDATURE This emblem appeared on a document

EMBLEM: entitled Sarajevo – Candidate for the host
city of the XIV Olympic Winter Games 1984.
SOURCES
‒ IOC Historical Archives/Olympic Games – Sarajevo 1984 – OCOG correspondence.

‒ Official guide: XIV Olympic Winter Games, Yugoslavia – Sarajevo, Organising Committee
of the XlV Winter Olympic Games 1984 in Sarajevo, 1984, p. 32.
‒ Sarajevo – Candidate for the host city of the XIV Winter Olympic Games 1984, Komitet za
kandidaturu. Sarajevo, 1980.

LOS ANGELES 1984
GAMES EMBLEM:
Designer: Robert Miles Runyan and Associates
Description: The emblem is nicknamed The Star in Motion. It aims to be dynamic,

especially thanks to the effect produced by the 13 horizontal lines. They
represent the speed of the athletes in pursuit of excellence. The lines also
illustrate the evolution of the USA from the Thirteen Colonies. The star is
seen as a universal symbol that evokes humankind’s highest aspirations. It
is a shape that features on many national flags, including that of the USA,
and the emblem also uses the same colours of red, white and blue. The
repetition of the star represents the spirit of competition between athletes.
Creation and The Organising Committee began by consulting 34 US design agencies,

launch: but later decided to limit itself to three based in the Los Angeles region. It
gave the three companies three-and-a-half months to submit a proposal
and, based on this, chose Robert Miles Runyan and Associates. No fewer
than 4,000 sketches were required to come up with the first outline of the
three-stars concept. Some 400 additional sketches were produced in order
to determine the final design. The emblem was unveiled to the public on 4
August 1980.
CANDIDATURE This symbol featured in a document entitled

EMBLEM: Come Home to Los Angeles linked to the
city’s Candidature File for the 1984 Summer
Games. It also appeared in the first report by
the Organising Committee to the IOC
members at the Moscow Session on 16 July
1980.

SOURCES
‒ Come home to Los Angeles, Southern California Committee for the Olympic Games, 1978.
‒ First official report of the Organizing Committee of the Games for the XXIII Olympiad,
submitted to the members of the International Olympic Committee in Moscow, July 16, 1980,
Los Angeles Olympic Organising Committee, 1980.
‒ Graphic Standards Manual: Games of the XXIII Olympiad Los Angeles 1984, Los Angeles
Olympic Organising Committee, 1980, section 2, n. p.
‒ Official report of the Games of the XXIII Olympiad Los Angeles 1984, Los Angeles Olympic
Organising Committee, 1985, vol. 1, p. 244.
‒ Our First 1,000 Days, Los Angeles Olympic Organising Committee, 1981, p. 19.
CALGARY 1988
GAMES EMBLEM:
Designer: Gary Pampa
Description: A geometric design formed of the letter “C”, reproduced in two sizes, is
standing above the Olympic rings. The design resembles a snowflake, an
expression of the winter season and sports, and a maple leaf, a symbol of
Canada. The large “C”s stand for Canada, and the small ones for Calgary,
the Games host city. The “Coming Together in Calgary” theme chosen by
the organisers for this edition of the Games is represented by the interlinking
of the five large “C”s, which also expresses the participation of the five
continents in the Calgary Games.

CANDIDATURE This featured in Calgary’s Candidature File

EMBLEM: for the 1988 Winter Games. Once Calgary
was awarded the Games, the Organising
Committee decided to keep it.
SOURCES
‒ Calgary Canada, 1981.

‒ Graphics manual: Calgary 1988 Olympic Winter Games, XV Olympic Winter Games
Organising Committee, n. d., p. 4.
‒ Media guide countdown 500: Calgary 1988 Olympic Winter Games, XV Olympic Winter
Games Organising Committee, 1986, pp. 30-31.
‒ XV Olympic Winter Games: Official Report, XV Olympic Winter Games Organising
Committee, 1988, p. 53.
SEOUL 1988
GAMES EMBLEM:
Designer: Sung-chun Yang
Description: The emblem is inspired by a design called “Sam-Taegeuk”, which

represents the harmonious coexistence between humankind, the Earth and
heaven. This design is used traditionally in South Korea, especially for
decorating crafts or in architecture. Here, an upward spiral movement
changes the usual configuration. This movement expresses the notions of

harmony, peace and progress as promoted by the Seoul Games organisers.

It also accentuates the centrifugal and centripetal movements in the design.
Humanity’s journey towards peace and prosperity thanks to the Olympic
ideals is symbolised by the centrifugal movement. The harmonious
gathering of people from across the world at the Seoul Olympic Games is
symbolised by the centripetal movement.
Creation and The Organising Committee launched a competition at the end of 1982,
launch: which received 924 entries. However, although two designs were
considered as having some merit, no first prize was awarded. The
Organising Committee then decided to change their methodology. It picked
10 artists, including the two who had stood out in the previous contest, and
tasked each of them with submitting at least two proposals. Twenty-six
designs were produced. In April 1983, a study group formed of Organising
Committee members and design experts selected three of them. The
winning design by Professor Yang was selected in May 1983 by the
Organising Committee’s Executive Board. It was revised and finalised the
following month, and its adoption was announced several months later.
CANDIDATURE This emblem featured on Seoul’s

EMBLEM Candidature File for the 1988 Summer
Games.
SOURCES
‒ Graphic Standards Manual: Games of the XXIV Olympiad, Seoul Olympic Organising
Committee, 1985, p. 2-1.
‒ Official Report: Games of the XXIV Olympiad Seoul 1988, Seoul Olympic Organising
Committee, 1989, vol. 1, pp. 632-633.
‒ Seoul: The Capital City of Korea for XXIV Olympiad 1988, Seoul Olympic Preparation
Committee, 1982.
‒ “SLOOC Picks Emblem, Mascot”, Seoul Olympic News, Newsletter of the Seoul Olympic
Organizing Committee, vol. 1, no. 1, January 1984, p. 1.

ALBERTVILLE 1992
GAMES EMBLEM:
Designer: Bruno Quentin, Desgrippes & Associés
Description: Three elements make up the emblem: the Olympic rings, the words
“Albertville 92” and, in reference to the Olympic flame, a symbol
representing a flame in the colours of the Savoie flag. The flame is
underlined by two lines that resemble ski tracks in the snow, while also
recalling France’s tricolour flag.
Creation and The Organising Committee decided to keep the candidature emblem, which
launch: had become widely recognised. The Desgrippes & Associés agency was
tasked with redesigning it.
CANDIDATURE This was put forward by Bruno Quentin from

EMBLEM: the Agence savoyarde d’aménagement, de
développement et d’aide aux collectivités
(ASADAC), hired for Albertville’s
candidature. It already consisted of a flame
incorporating the Savoy flag.
SOURCES
‒ Graphic Standards for the 1992 Winter Olympic Games Logotype, Organising Committee
of the XVI Olympic Winter Games of Albertville and Savoie, 1989, p. 1.1, n. p.

‒ Official Report of the XVI Olympic Winter Games of Albertville and Savoie, Organising
Committee of the XVI Olympic Winter Games of Albertville and Savoie, 1992, vol. 1, pp. 12,
14, vol. 2, p. 295.
‒ The Magazine of the Organizing Committee of the XVI Olympic Winter Games of Albertville
and Savoie: 1000 days before the Games, Organising Committee of the XVI Olympic Winter
Games of Albertville and Savoie, 1989, p. 23.
BARCELONA 1992
GAMES EMBLEM:
Designer: Josep Maria Trias
Description: An energetic human silhouette leaps above the words “Barcelona ’92” and
the Olympic rings. It could be a male or female athlete competing or jumping
for joy following a success. The simple, pared-down and dynamic style
reduces the silhouette to three distinct parts: the head, arms and legs. The
open arms convey the notions of welcoming people and hospitality. The
character’s three bright colours aim to reflect the extravert, expressive,
carefree, free-spirited and human side of Barcelona. The red symbolises
life, the yellow refers to light, and the blue to the Mediterranean Sea,
intrinsic to a port city such as the Catalan capital.
Creation and The Organising Committee invited six designers to submit a proposal. In
launch: late 1987, Trias’s project was selected by a jury formed of experts and
Organising Committee members. A ceremony to present the emblem was
held on 15 March 1988 at the Miró Foundation in Barcelona.

CANDIDATURE In 1984, following a contest, two emblems

EMBLEM: were selected for the candidature. However,
this one, designed by América Sánchez, was
used most of the time. The shape recalls the
city contours and its marine skyline.
SOURCES
‒ Barcelona’92: Dossier de presse, Division Image and Communication – Presse, COOB’92,

January 1991, pp. 80, 82.
‒ Barcelona Olympic News, COOB’92, vol. VI/88, no. 1, n. p.
‒ Diseño Olímpico: Barcelona 92, Olimpíada Cultural COOB’92, pp. 24-25, 28.
‒ Games of the XXV Olympiad Barcelona 1992: Graphic Standards Manual, COOB’92, p. 2.1.
‒ Official Report of the Games of the XXV Olympiad Barcelona 1992, COOB’92, 1992, vol.
3, p. 321.
LILLEHAMMER 1994
GAMES EMBLEM:
Designer: Engen and Harlem
Description: Four elements make up the emblem: the Olympic rings, the name
“Lillehammer’94”, and stylised northern lights above a flurry of snow crystals
as if scattered by a skier. The emblem reflects the vision of the visual identity
programme for these Games, the aim of which was in particular to
showcase Norwegian distinctive features and the close link between
humans and nature. A well-known natural phenomenon in Norway, the
aurora borealis underlines the northerly position of the country. It also
promotes the notions of power, tension and drama. With the sky and snow

as sources of inspiration, the dominant colours of the emblem are cobalt

blue and white.
Creation and The first version of the emblem dates back to 1983. It was created for
launch: Lillehammer’s candidature to host the Olympic Winter Games in 1992. At
the time, the colours of the northern lights corresponded to those of the
Norwegian flag. While that emblem continued to be used subsequently, it
further evolved to become the final version that was incorporated into the
overall concept of the visual identity developed for these Games.
CANDIDATURE This version of the emblem featured on the

EMBLEM: Lillehammer Candidature File for the
Olympic Winter Games in 1994.
SOURCES
‒ Design Handbook: The XVII Olympic Winter Games, Lillehammer 1994, LOOC, 1991, A1.
‒ “L’identité visuelle de Lillehammer: la pureté du cristal”, Olympic update ’94: Bulletin pour
les XVIIèmes Jeux Olympiques d’hiver, LOOC, June 1991, p. 14.
‒ Lillehammer, Norway-Norvège: Candidate to host the 1994 Olympic Winter Games,
Lillehammer Olympic Association, 1987.
‒ Newsflash: Newsletter for the XVIII Olympic Winter Games, LOOC, no. 2, June 1990, p. 10.
‒ Official Report of the XVII Olympic Winter Games Lillehammer 1994, LOOC, 1995, vol. 2,
n. p.
‒ The Torch: Official Newsletter for Lillehammer Olympic Development Association,
Lillehammer Olympic Development Association, no. 1, 1985, p. 2.

AT L A N TA 1 9 9 6
GAMES EMBLEM:
Designer: Landor Associates
Description: The emblem features the shape of a burning flame on a base, along with
the wording “Atlanta 1996”. As it rises up, the flame gradually transforms
into a perfect star which symbolises each athlete’s pursuit of excellence as
well as the human spirit and humankind’s highest expectations. The base
resembles a Greek column, a nod to the ancient Olympic Games and the
first Olympic Games of the modern era in Athens in 1896. It is formed of the
Olympic rings and the figure 100, in reference to the centenary of the
modern Olympic Games. In terms of colours, the dark green evokes the
abundant vegetation in Atlanta and the laurel branch, a symbol of victory.
The gold medals awarded to the athletes are conjured up through the
golden colour featured in the emblem. Other emblems, such as that for the
Cultural Olympiad, were created based on the Games emblem.
Creation and The Organising Committee first collected the opinions of people in the
launch: region through focus groups. The information compiled was then passed on
to several graphic design companies, among which the Landor agency was
chosen. The emblem was unveiled to the public on 13 February 1992.

CANDIDATURE Devised by Copeland Design, Atlanta’s

EMBLEM: candidature emblem features a star formed
of five “A”s in the colours of the Olympic
rings. It bears the name “Atlanta: A Star on
the Rise”. The “A”s represented words that
illustrated what the city could offer the
Games: access, accommodation, athletic
facilities, attitude and ability.
SOURCES
‒ Press Guide Atlanta 1996, ACOG, March 1995, pp. 37-38.

‒ Standards Manual: Atlanta 1996, first edition, ACOG, 1992, n. p.
‒ The Official Report of the Centennial Olympic Games: Atlanta 1996, ACOG, 1997, vol. 1,
p. 9, 129-130.
NAGANO 1998
GAMES EMBLEM:
Designer: Landor Associates
Description: The emblem includes the Olympic rings, the words “Nagano 1998” and the
“snowflower”, a graphic symbol formed of six petals representing athletes
practising winter sports. The hexagonal flower also resembles a snowflake.
It can also be seen as a mountain flower in full bloom, an allusion to the
importance the Games organisers placed on the environment. The energy

emanating from its centre represents the passion of the people coming
together in Nagano and the Games’ drama shared with the world.
Creation and In 1992, the Organising Committee chose Landor Associates to produce
launch: the Games emblem. In the last few months of the year, a selection process
was implemented to choose an emblem from the proposals submitted by
Landor. A group of around a dozen people, including graphic design
experts, was set up to take part in this process. The emblem was unveiled
on 26 January 1993.
CANDIDATURE This emblem featured on the Nagano

EMBLEM: Candidature File for the Olympic Winter
Games in 1998.
SOURCES
‒ 1998 Nagano Japan, Nagano Winter Olympics Bidding Committee, Nagano, 1991.
‒ Graphic Standards Manual: The XVIII Olympic Winter Games Nagano 1998, NACO, 1996,
A-02.
‒ Nagano Newsletter, NAOC, no. 6 (3 June 1992), no. 12 (9 September 1992), no. 16
(4 November 1992), no. 20 (3 February 1993).
‒ The XVIII Winter Games: Official Report Nagano 1998, NAOC, 1999, vol. 1, p. 98.

SYDNEY 2000
GAMES EMBLEM:
Designer: FHA Image Design
Description: Named Millennium Man, the emblem aims to convey the notions of energy,
vitality, youth and boldness. It features a silhouette of an athlete formed of
boomerangs, a reference to the country’s Aboriginal culture. The silhouette
bounds with speed towards the new Millennium. Above it is a streak of
lightning, evoking the architecture of Sydney Opera House, a reminder of
the emblem used for the city’s candidature, which also referred to the
famous landmark. The lightning can also be interpreted as smoke from the
Olympic flame. The colours blue, yellow and red recall the bay of Sydney,
the sun and the land respectively, and at the same time convey the
Australian landscape. The wording “Sydney 2000” written in an informal
style reflects the openness and relaxed lifestyle of the local people; and the
Olympic rings complete the design.
Creation and The agency that produced the emblem was selected following a
launch: competition. On 14 September 1996, the emblem was unveiled in Darling
Harbour, one of the Games competition sites, at a ceremony organised for
the occasion and was subject to a television special.
CANDIDATURE Inspired by the architecture of Sydney Opera

EMBLEM: House, this emblem also suggests the
Olympic flame. It symbolises the dawn of a
new Millennium, and the harmony between
Australia and the modern Olympic Games. It
uses the colours of the Olympic rings and
incorporates a dot pattern reminiscent of
Aboriginal Papunya art.

SOURCES
‒ “New Image for Sydney 2000”, news, SOCOG, 25 August 1996.

‒ Official Report of the XXVII Olympiad: Sydney 2000 Olympic Games, 15 September –
1 October 2000, Sydney: SOCOG, 2001, vol.1, pp. 242, 278.
‒ Sydney 2000 Olympic Games image guidelines, SOCOG, 1998, pp. 03.01.01, 03.05.01-09,
n. p.
‒ “Sydney Olympics logo gets a mixed response”, Design Week website, 25 October 1996.
‒ Sydney 2000: share the spirit, Sydney Olympics 2000 Bid Ltd. Sydney, 1993, vol. 3, pp. 53,
57.
‒ “The Millennium Athlete: Sydney 2000 Logo”, website of Sydney 2000, 11 September 1996.
S A LT L A K E C I T Y 2 0 0 2
GAMES EMBLEM:
Designer: Landor Associates, EvansGroup
Description: The emblem is made up of the Olympic rings, the logotype “Salt Lake 2002”
and a snowflake or crystal design, itself formed of three sections. The
bottom section, in blue, symbolises a snow-capped mountain. The orange
middle section is inspired by a style of ancient Native American weaving,
while the top section in amber yellow represents the Olympic flame and the
athletes’ courage. These bright colours also reflect those found in the
landscapes of Utah, which go from the warm tones of the desert to the cold
ones of the mountain winters. The emblem incorporates the notions of
contrast, culture and courage: the contrast that exists in the Utah landscape,
the various cultures that live together, and the courage of the athletes
competing in the Games.

Creation and The emblem concept was presented as the result of a collective effort. The
launch: Organising Committee first collected the views of the public through
questionnaires and discussion groups. Graphic design agencies Landor
Associates and EvansGroup then sought to translate the ideas into visual
form. This eight-week operation, involving 70 to 80 graphic designers, led
to the production of around 1,200 sketches. Broadcasters, such as NBC,
were also consulted. Finally, on 29 August 1997, in front of an audience of
about 500 people, the emblem was unveiled at a ceremony organised at
Abravanel Hall in Salt Lake City.
CANDIDATURE Designed by Ted Nagata, this emblem had

EMBLEM: already been used for the city’s candidature
for the 1998 Olympic Winter Games. It
represents the city centre’s towers and the
Wasatch mountain range, and thereby
suggests the possibilities on offer through
such proximity.
SOURCES
‒ Graphic Standards Manual: Salt Lake City 2002, SLOC, 1998, pp. 03:04, 03:06-03:12.
‒ Salt Lake 2002: Official Report of the XIX Olympic Winter Games: 8-24 February 2002,
SLOC, 2002, vol. 1, pp. 14, 206.
‒ Salt Lake City 1998: Candidate to host the XVIIIth Olympic Winter Games, Salt Lake City
Bid Committee for the Olympic Winter Games 1998, 1990, vol. 2, p. 133.
‒ “SLOC Unveils 2002 Olympic Winter Games Emblem”, news release, SLOC, 29 August
1997.

AT H E N S 2 0 0 4
GAMES EMBLEM:
Designer: Red Design Consultants, Wolff Olins
Description: The wording “Athens 2004” and the Olympic rings are combined with the
symbol of a hand-drawn olive wreath. The olive wreath illustrates the link
between the past and the present. Also called “kotinos”, this is a reference
to the ancient Olympic Games, held at Olympia in Greece, where it was
awarded to the Olympic champions. Furthermore, the city of Athens had as
a symbol the olive tree, which is considered a sacred tree. Lastly, the olive
branch is also a symbol of peace. The open circle formed by the wreath
represents an invitation to the whole world to take part in the Olympic
Games. The colours – bright white and a fluid and transparent blue – are
references to the coolness and impetuousness of the sea and the purity of
the Greek sky. They are also the colours of the Greek national flag.
Creation and An international competition was organised to select the Games emblem. It
launch: received 690 entries from 242 candidates in 14 countries. A jury picked
three entries, before the Organising Committee’s Board of Directors
selected one unanimously. On 30 September 1999, the emblem was
presented to the public in a ceremony held at the Zappeion in Athens.
CANDIDATURE In an abstract style, flames shoot up from a

EMBLEM: cauldron and form the letter “A” for Athens.

SOURCES
‒ “Athens 2004: The Athens olive wreath”, Olympic Review, XXVI-29, October-November
1999, p. 4.
‒ “Emblem”, website of Athens 2004.
‒ Official report of the XXVIII Olympiad: Athens 2004, Athens: ATHOC, 2005, vol. 1, pp. 75,
319.
‒ “The Athens 2004 Olympic Emblem”, Athens 2004: Olympic News, ATHOC, no. 1, 2000, p.
7.
TURIN 2006
GAMES EMBLEM:
Designer: Studio Benincasa-Husmann
Description: Incorporating the Olympic rings and the wording “torino 2006”, the emblem
was inspired by the Mole Antonelliana, a famous Turin landmark. Its shape
also resembles a mountain whereby the white of the snow meets the blue
of the sky, expressing the sense of connection between the Alpine resorts
and the city. The blue ice crystals used to form its shape interlock. They
also form a web, which refers not only to new technologies, but also to the
link between nations forged by the Games and the Olympic spirit.
Creation and The emblem was selected following a competition open to agencies and
launch: individuals specialised in graphic design, communication and art. Among
the criteria asked for, it was stipulated that the projects needed to reflect the
excellence of Italian design and the timeless ideals of the Olympic
Movement. They also had to express the distinctive identity of the Winter

Games and convey Turin as a lively city, looking to the future. Some 1,300
entries were received. On 27 November 2001, the emblem was presented
in Rome to the Italian President and the press and, in the form of flags, to
the mayors of the competition sites who had gathered at the Mole
Antonelliana in Turin. On 30 November, a show in honour of the new image
was organised in Piazza Castello in Turin.
CANDIDATURE Designed in 1998 by Giorgetto Giuriaro, the

EMBLEM: Turin candidature emblem depicts the Mole
Antonelliana, a landmark building in the city,
surrounded by mountains.
SOURCES
‒ “Due giorni di festa per il nuovo marchio”, Monitor 2006. Newsletter del Comitato per
l’Organizzazione dei XX Giochi Olimpici Invernali – Torino 2006, TOROC, 3rd year, no. 1,
February 2002, p. 4.
‒ Gara per la realizzazione del marchio olimpico – Olympic emblem competition, TOROC, n.
d., pp. 5, 9, n. p.
‒ “Identity and Image – Logo” and “Il Marchio” sections, website of Turin 2006.
‒ Info 2006 n.1_2005, TOROC, January 2005, p. 16.
‒ “National Competition for Vancouver 2010 Logo”, news, website of the International Olympic
Committee, 28 May 2004.

BEIJING 2008
GAMES EMBLEM:
Designer: Beijing Armstrong Visual Identity Corp
Description: The emblem, which is named “Dancing Beijing”, is made up of three parts:
the Olympic rings, the logotype “Beijing 2008”, and a symbol showing a
white human silhouette on a red background running and dancing to victory.
This figure is formed of the Chinese character jing (京) found in the word
“Beijing”, meaning “the capital”. It represents both the Olympic athletes and
the other Games participants, such as the volunteers and spectators. Its
open arms signify hope and are welcoming. Its curves also resemble those
of a dragon or a coursing river. Using the art of calligraphy, the emblem also
recalls the traditional technique of making seals, a mark of trust and
commitment. The colour red, that of fire, is important in Chinese culture and
symbolises luck, celebrations, energy and new beginnings.
Creation and On 3 July 2002, the Organising Committee launched a contest open to
launch: graphic design and brand development institutions and professionals. Over
1,990 entries were received from across the world. A selection process
followed to develop and name the winning design. The emblem was finally
unveiled on 3 August 2003 at a gala organised at the historical site of the
Temple of Heaven in Beijing, attended by 2,008 people and broadcast to
400 million TV viewers.

CANDIDATURE This is based on the concept of a traditional

EMBLEM: Chinese knot and the Olympic rings, whose
colours have been incorporated. It also
resembles the silhouette of a person
practising tai-chi-chuan, a Chinese martial
art. It conveys the notions of exchange,
development, unity and communication, and
at the same time symbolises harmony,
grace, mobility and vitality.
SOURCES
‒ “Dancing Beijing": The 2008 Olympic Emblem unveiled”, news, website of the International
Olympic Committee, 3 August 2003.
‒ Emblem Usage Manual: Beijing 2008 Olympic Games, BOCOG, n. d., pp. 9, 11.
‒ Invitation. The Olympic Emblem Design Competition for the Beijing 2008 Olympic Games,
BOCOG, n. d., n. p.
‒ Official Report of the Beijing 2008 Olympic Games, Beijing: BOCOG, 2010, vol. 1, p. 27,
vol. 3, p. 265.
‒ “Part II: Logo selection”, website of the China Central Television (CCTV), n. d.
‒ Yu Yilei, “2008 Olympics has logo”, website of the China Daily, 4 August 2003.
VA N C O U V E R 2 0 1 0
GAMES EMBLEM:
Designer: Rivera Design Group
Description: The emblem is made up of three elements: the Olympic rings, the logotype
“Vancouver 2010” and a contemporary, multicoloured representation of an

inukshuk. The inukshuk is a traditional sculpture in human form made from

piled-up stones that were used as landmarks by Inuits. It became a symbol
of hope and friendship and conveys to the world a welcoming, hospitable
message. The stacked stones, the product of a working group, promote the
ideas of balance, cohesion and collaboration, like the athletes competing at
the Games. Rooted in the earth, but also turned towards the sky, the
symbolic character conveys the link that exists between the people and the
Canadian landscapes. The colours also reflect the local environment: the
green and blue being the forests, islands, mountains and ocean; the red the
maple leaf featured on the national flag; and the golden yellow the sunrise.
The Vancouver 2010 emblem is called “Ilanaaq”, which means “friend” in
Inuit.
Creation and The emblem was selected by a jury of international experts from among
launch: 1,609 entries in a contest open to Canadian design students and
professionals. It was unveiled in April 2005 at a spectacular ceremony
attended by 10,000 people at the ice hockey venue and broadcast on
national TV.
CANDIDATURE A maple leaf on a red background above the

EMBLEM: mountains of the Whistler region, as well as
the coastal area of the city of Vancouver.
SOURCES
‒ “2010 Olympic Emblem Competition draws more than 1,600 submissions”, news, website
of Vancouver 2010, 19 September 2004.
‒ “Introducing ILANAAQ: Vancouver 2010 Olympic Winter Games emblem celebrates
Canada”, news, website of Vancouver 2010, 23 April 2005.
‒ “New Vancouver 2010 Logo”, news, website of the Vancouver 2010 Bid Corporation, 2
February 2002.
‒ Vancouver 2010. Olympic Games Emblem Graphic Standards For Editorial Media only,
VANOC, version 3.1, February 2007, pp. 6-7, 14.

LONDON 2012
GAMES EMBLEM
Designer: Wolff Olins
Description: The emblem is based on the figure “2012”. It contains the logotype “London”
in the “2012 Headline” font produced for these Games, and the Olympic
rings.
The emblem was formed based on a flexible grid of intersecting lines. This
grid was also used to create other decorative elements of the visual identity
of these Games, as set out in the “London 2012 Brand Expression
Guidelines”. The logo aims to be dynamic, modern and bold, but also
adaptable, as the solid surfaces can be filled with different colours or even
images. It can also be used with or without the outline, or as the outline
alone. It therefore has a wide range of variations. It was also used to create
the emblems for other specific events of the Games, such as the “London
2012 Festival” and the Torch Relay, whose emblem was the same shape,
but with a special fill that suggests reflections of the Olympic flame. For the
first time, the Paralympic Games emblem was the same shape as the
Olympic one, but featured a specific reference to the Paralympic Games,
as well as the symbol of the International Paralympic Committee (IPC).
Creation and Wolff Olins was chosen in March 2006 by the London 2012 Organising
launch: Committee to conceptualise the emblem and the visual identity of the event.
The selection was made through a tender issued among leading British
communications and graphic design agencies. The emblem was unveiled
on 4 June 2007 at a ceremony organised in London.

CANDIDATURE This features a ribbon in the colours of the

EMBLEM: Olympic rings, interlaced in the words
“London 2012”. The shape of the ribbon is
a nod to the River Thames in London. The
candidature emblem was selected after a
competition that received 1,100 proposals.
The winning project, produced by the Kino
Design agency, was picked by a
committee formed of graphic design
experts, Olympians, future athletes and
Londoners. The candidature emblem was
unveiled in November 2003.
SOURCES
‒ Brand guidelines for partners: London 2012 Festival, LOCOG, version 2.0, May 2011, p. 28.
‒ “Leading agency chosen to design new Games logo”, press release, LOCOG, 13 March
2006.
‒ London 2012 brand expression guidelines, LOCOG, March 2010, pp. 22-27.
‒ London 2012 Olympic Emblem guidelines, LOCOG, March 2008, pp. 5-8.
‒ London 2012 Olympic Torch Relay style guide for licensees, LOCOG, March 2011, p. 4.
‒ “London's logo unveiled”, news, website of the London bid to host the 2012 Olympic Games
and Paralympic Games, 17 November 2003.
‒ “New brand and vision revealed for London 2012 Olympic Games and Paralympic Games”,
press release, LOCOG, 4 June 2007.
‒ Paralympic emblem guidelines: London 2012, LOCOG, June 2008, p. 6.

SOCHI 2014
GAMES EMBLEM:
Designer: Interbrand, Sochi 2014 Organising Committee
Description: The emblem is formed of the Olympic rings and the wording “sochi.ru 2014”.
The addition of “.ru”, which transforms the wording into a website address,
placing the accent on the new audiences reached via this media. The “.ru”,
in reference to the Russian internet domain, also helped to indicate that the
city of Sochi, which was not particularly well known in the rest of the world
at the time, is in Russia. The emblem was designed so that the figure “2014”
and the word “Sochi” seem to be a reflection of each other. The aim was to
illustrate the contrasts which exists in the Sochi region where beaches lined
with palm trees meet snow-capped mountains.
Creation and At the start of the process to create the brand for these Games, studies
launch: were conducted in 10 Russian cities and eight other countries. The aim was
to identify the public perception of Russia. Later, the Interbrand agency and
a panel of experts set up by the Sochi 2014 Organising Committee worked
on the project. The experts in question came from the worlds of sport, art,
marketing and brand design. The emblem was unveiled on 1 December
2009. Events were organised for the occasion across Russia, including a
spectacular ceremony in Red Square in Moscow and a show in Sochi.
The Paralympic Games emblem was also based on the wording “sochi.ru
2014”. However, it bore the logo of the International Paralympic Committee
and the words “paralympic games”.

CANDIDATURE The blue part at the top represents the

EMBLEM: Sochi sky, and the snowflake winter
sports. The red stripe calls to mind the
region’s mountain chains, and its upwards
direction, from left to right, conveys the
ideas of growth, dynamism and a targeted
approach. The white part symbolises
snow. Red, white and blue are also the
colours of the Russian Federation flag.
SOURCES
‒ Authorized Ticket Reseller Sochi 2014 Olympic and Paralympic Emblem Usage Guidelines,
Organising Committee of the XXII Olympic Winter Games and XI Paralympic Winter Games
of 2014 in Sochi, 2014, p. 6.
‒ Guidelines and graphic standards for using symbols of the XXII Olympic and XI Paralympic
Winter Games Sochi 2014, Organising Committee of the XXII Olympic Winter Games and
XI Paralympic Winter Games of 2014 in Sochi, c. 2013, pp. 4, 6, 70.
‒ “National and International Events Mark Launch of New Sochi 2014 Brand”, press release,
website of Sochi 2014, 3 December 2009.
‒ “Opening new gateway”, Gateway to the innovative and inspirational Sochi 2014 Olympic
and Paralympic Winter Games, no. 1, Winter 2010, pp. 10-11.
‒ Sochi 2014 official report, Organising Committee of the XXII Olympic Winter Games and XI
Paralympic Winter Games of 2014 in Sochi, vol. 1, p. 20.
‒ “Unique Digital Olympic Emblem Revealed by Sochi 2014 for Russia’s First Winter Games”,
press release, website of Sochi 2014, 1 December 2009.

RIO 2016
GAMES EMBLEM:
Designer: Tátil
Description: Three distinct elements make up the emblem: the Olympic rings, the
wordmark “Rio 2016”, and a multicoloured symbol that represents athletes
and people coming together in a warm embrace in both an individual and
collective movement. Hence, this symbol made of dynamic curves conveys
a sense of unity, cooperation and openness. Encompassing a 3D effect, its
shape resembles the iconic Sugarloaf Mountain in Rio, as well the
movements we see in sport. The colour green is a sign of hope and is a nod
to the Brazilian forests. The yellow is from the sun and the warmth of the
local people. The blue expresses easygoingness, while resembling the sea,
which is ubiquitous in Rio, and its fluidity. Having for essence the concepts
of passion and transformation, the emblem translates the notions of
Olympic spirit, exuberant nature, harmonious diversity and contagious
energy.
Creation and The process to select the company that would create the visual identity for
launch: Rio 2016 began in April 2010. At the beginning, 139 agencies expressed an
interest. The emblem was finally unveiled on 31 December 2010 on
Copacabana Beach, as part of the New Year festivities, with around two
million people in attendance. The emblem won an iF Design Award in 2012,
a prestigious prize in the area of design.

CANDIDATURE A sunny view of Sugarloaf Mountain and

EMBLEM: the seashore forms a heart symbolising
the Brazilians’ passion for sport. Also
contained in this shape is a stylised clover,
a lucky sign for those who want to go
beyond their own limits. The emblem
conveys Cariocas’ enthusiasm for hosting
the Games, and an exclamation mark is
incorporated into the figure “1” in “2016”.
SOURCES
‒ “Look of the Bid”, website of the Rio 2016 Bid Committee.

‒ “Rio 2016 Committee ends one more phase of the selecting process for the Rio 2016
Olympic Games brand”, news, website of Rio 2016, 3 September 2010.
‒ Rio 2016 Olympic Games brand manual, Organising Committee for the Olympic and
Paralympic Games in Rio in 2016, version 1, December 2010, pp. 8-9, 18.
‒ “Rio 2016 Olympic Games emblem is launched during the Copacabana Beach New Year’s
Eve party”, news, website of Rio 2016, 1 January 2011.
‒ “Tátil Design”, iF World Design Guide website.
PYEONGCHANG 2018
GAMES EMBLEM:
Designer: Jong-joo Ha
Description: The emblem is inspired by Hangul, the Korean alphabet. The “ㅍ” symbol
comes from the first consonant of the first syllable of the word

PyeongChang, which is written as “평창” in Korean. This sign also

symbolises the idea of a gathering place where the three elements of
Korea’s traditional humanism – the human, earth and heaven – meet in
harmony. The “ㅊ” symbol comes from the first consonant of the second
syllable of PyeongChang. It makes reference to snow and ice and to the
athletes as “stars” of the Games. The design, made up of the two symbols
“ㅍ” and “ㅊ”, contains the five traditional Korean colours, the same colour
scheme as that found in the Olympic flag with the five rings on a white
background. The wordmark “PyeongChang 2018” and the Olympic symbol
complete the emblem.
Creation and The search for an emblem concept began in the course of 2012. A public
launch: contest was held in October of the same year. Academics and business
experts, and representatives of the Organising Committee and the Ministry
of Culture, Sport and Tourism, took part in the selection process. Finally,
the emblem was unveiled on 3 May 2013 at a ceremony that was held
simultaneously in PyeongChang and Seoul.
CANDIDATURE This recalls the scenery of the mountains

EMBLEM: and snow of the PyeongChang area. Its
spurting curve stimulates the spirit of
victory and expresses the dynamism of
the Olympic Games. It also embodies the
curved line of a slope and a board of winter
sport.
SOURCES
‒ “Emblem”, website of PyeongChang 2018 (2014).

‒ “Emblem & Slogan”, website of the PyeongChang 2018 Bid Committee.
‒ “PyeongChang 2018 Unveils Official Olympic Emblem”, news, website of PyeongChang
2018, 3 May 2013.
‒ The Olympic Winter Games PyeongChang 2018 Emblem Graphic Standards,
PyeongChang Organising Committee for the 2018 Olympic & Paralympic Winter Games,
21 April 2017, p. 3.

TOKYO 2020
GAMES EMBLEM:
Designer: Asao Tokolo
Description: Incorporating a chequered pattern made up of three types of rectangle,

which represent different cultures, countries and ways of thinking, the
emblem conveys the message of unity in diversity. It illustrates the fact that
the Olympic Games bring together and connect people from all around the
world. Chequered patterns were mainly developed in Japan during the Edo
period (1603-1867) and were known as “ichimatsu moyo”. The indigo blue
used in the emblem is also traditional and expresses a refined elegance
and sophistication that exemplifies Japan.
Creation and A first Games emblem was created and unveiled on 24 July 2015. A Belgian
launch: theatre and its graphic designer complained of the resemblance to their own
logo. On 1 September 2015, the Organising Committee decided to replace
the Games emblem. A contest was run for a new emblem from 24
November to 7 December 2015. It was open to Japanese nationals and
foreigners over 18 residing in Japan, as well as groups made up of a
maximum of 10 people, at least one of whom had to satisfy the
aforementioned criteria. A process of several phases helped to select, from
the 14,599 entries, four finalists, from among which the emblem was
chosen. Named the “Harmonised Chequered Emblem”, the design was
unveiled on 25 April 2016.

CANDIDATURE This is formed of an arrangement of cherry

EMBLEM: blossoms and expresses the concepts of
friendship, peace, gratitude and world
unity. Among the five colours used for the
arrangement is a traditional purple from
the Japanese Edo period, as well as four
of the colours of the Olympic rings – green,
yellow, red and blue. The emblem was
selected following a contest open to art
and design students. The jury chose the
entry by Ai Shimamine, a student at the
Joshibi University of Art and Design.
SOURCES
‒ “Announcement regarding the Tokyo 2020 Games emblems”, news, website of Tokyo 2020,
1 September 2015.
‒ “Designer waives Tokyo 2020 emblem lawsuit”, news, website of the International Olympic
Committee, 1 February 2016.
‒ “Important information regarding the design of emblems for the Tokyo 2020 Olympic and
Paralympic Games”, Tokyo Organising Committee of the Olympic and Paralympic Games,
16 October 2015, p. 2.
‒ “Logo”, website of the Tokyo 2020 Bid Committee.
‒ “Olympic Highlights”, news, website of the International Olympic Committee, 27 July 2015.
‒ “Tokyo 2020 Announces New Candidate City Emblem”, news, website of the Tokyo 2020
Bid Committee, 29 May 2012.
‒ “Press Statement”, news, website of the International Olympic Committee, 22 September
2015.
‒ “Tokyo 2020 emblems selection process”, website of Tokyo 2020.
‒ “Tokyo 2020 Unveils New Bid Logo”, news, website of the Tokyo 2020 Bid Committee, 30
November 2011.
‒ “Tokyo 2020 Unveils the Emblems of the 2020 Games Inspired by Traditional Japanese
Motif”, news, website of Tokyo 2020, 25 April 2016.

BEIJING 2022
GAMES EMBLEM:
Designer: Lin Cunzhen
Description: The emblem is inspired by the Chinese character “冬”, which means
“winter”, and is called “Winter Dream”. Its stylisation combines Chinese
culture with modernity, thereby offering a new image of the country. The
design, which recalls ribbons flowing in a spirit of festivity, can be interpreted
in several ways. Rolling mountains, winter sports slopes, an ice skater at
the top, or a skier at the bottom can be seen in the shapes. The red and
yellow from the Chinese flag represent youth, vigour and passion. The blue
symbolises the purity of snow and ice, as well as dreams and the future.
The presentation of the words “Beijing 2022” is a nod to the art of Chinese
calligraphy and paper-cutting. The emblem reflects the desire to encourage
more Chinese people to practise winter sports, and to promote winter sports
and Olympism across the world.
Creation and In the second half of 2016, the Organising Committee launched a worldwide
launch: contest to create the Games emblem, which received 4,506 entries.
Following a selection and finalisation process, the emblem was unveiled on
15 December 2017 at a gala organised at the National Aquatics Centre in
Beijing, one of the competition venues for the Olympic Summer Games
Beijing 2008 and Olympic Winter Games Beijing 2022.
CANDIDATURE This is also based on the Chinese

EMBLEM: character “冬”, symbolising winter. Lin
Cunzhen, who also worked on the emblem
for the Youth Olympic Games Nanjing
2014, headed the team that produced it.

SOURCES
‒ “Beijing 2022 begins to accept emblem design proposals”, news, website of Beijing 2022,
20 November 2016.
‒ “Beijing 2022 Unveils Official Emblems for the Olympic and Paralympic Winter Games”,
news, website of Beijing 2022, 16 December 2017.
‒ Sue Wang, “CAFA Design supports Beijing's bid for the 2022 Olympic Winter Games”, art
news, CAFA Art Info website, 5 August 2015.
‒ “Winter Dream – Emblem of the Olympic Winter Games Beijing 2022”, news, website of
Beijing 2022, 15 December 2017.
PA R I S 2 0 2 4
GAMES EMBLEM:
Designer: Royalties and Ecobranding agencies
Description: In an elegant and understated style, inspired by the Art Deco movement,
the emblem combines three fundamental symbols: a gold medal, the
Olympic flame and Marianne.
The gold medal is the symbol of victory. It invites us to test our limits and
reveal the athlete that lies in all of us. The flame conveys the energy of
sharing. It expresses Paris 2024’s desire to organise Games for everyone.
As for the female face, this is a nod to Marianne. It epitomises French
Games, and recalls women’s first participation in the Olympic Games, in
Paris in 1900.

This emblem is the first face in Games history and conveys the ambition of
staging humanistic Games, for the people and with the people.
Creation and The emblem was unveiled on 21 October 2019. Some 800 runners, led by
launch: athletes and influencers, ran various routes through Paris marking various
points in the outline of the emblem. Their journey was followed live on
screen in front of the legendary Grand-Rex cinema. At 20:24 precisely, the
points were linked up, and the Paris 2024 emblem appeared.
CANDIDATURE The emblem is formed of three symbols:

EMBLEM: - The figure 24, in reference to the
Games year
- The Eiffel Tower, a symbolic monument
in the city of Paris
- A curve in the River Seine, decorated in
the Olympic colours.
It is the Paris 2024 project summarised in

one symbol. It was designed by the
Dragon Rouge graphics agency.
SOURCES
‒ Paris 2024 dévoile le visage de ses Jeux, press kit, website of Paris 2024.
‒ “Paris 2024 unveils new Olympic and Paralympic Games Emblem”, news, website of the
International Olympic Committee, 21 October 2019.
‒ Rodolphe Pailliez, “Jeux Olympiques Paris 2024: Dragon Rouge signe le logo officiel”,
francegraphic.com website, 11 February 2016.
‒ “Un emblème unique”, website of Paris 2024.

MILANO CORTINA 2026
GAMES EMBLEM:
Designer: Landor/WPP
Description: Above the Olympic rings and the words “Milano Cortina 2026”, the number
26 appears as if lightly traced by a finger in the snow in a single,
spontaneous gesture, reflecting the idea that the smallest, most natural
gestures can change the world. Such gestures, day after day, can lead to
great victories, in sport as in life. With its dynamic, modern and elegant
style, the emblem evokes a sustainable, inclusive future without
discrimination or barriers of any kind – a victory for all.
Creation and On 6 March 2021, on the final night of the 71st edition of the Sanremo
launch: Music Festival, Olympic champions Federica Pellegrini and Alberto Tomba
unveiled “Dado” and “Futura”, the two potential Milano Cortina 2026
emblems. The two shortlisted designs had been selected from among
some 30 initial concepts developed, at the request of the Organising
Committee, by Landor, part of the WPP Group. An online public vote was
held over the following weeks, and the winning design was announced on
30 March 2021. “Futura” was chosen with around 75 per cent of the
871,566 votes cast from 169 countries.
CANDIDATURE This is inspired by the façade of Milan’s

EMBLEM: cathedral, the Duomo di Milano, which
takes on the form of a mountain, an
allusion to those found in the region of
Cortina and, more generally, the Alps. In
the middle, a slalom course descends
from the highest point. The green, white
and red are the colours of the Italian flag.

SOURCES
‒ “871.566 voti da 169 Paesi […]”,Facebook message, Organising Committee for the
Olympic and Paralympic Winter Games Milano Cortina 2026, 26 March 2021.
‒ Andrew Binner, “Milano Cortina 2026 Winter Olympic Games emblem: And the winner
is...”, news, website of the Olympic Channel, 30 March 2021.
‒ “Federica Pellegrini e Alberto Tomba presentano “Dado” e “Futura””, news, website of
Milano Cortina 2026, n. d.
‒ Giacomo Valtolina, “Milano-Cortina 2026, logo olimpico: Dado o Futura? Duello tra
designer”, Corriere della Sera, 25 March 2021.
‒ “Introducing Milan Cortina 2026 to the world. Malagò: candidacy under the sign of tradition
and innovation”, news, website of the Italian National Olympic Committee, 28 November
2018.
LOS ANGELES 2028
GAMES EMBLEM:
Designer: Los Angeles 2028 Organising Committee in collaboration with Nike Design
Team and Works Collective
Description: It is composed of the text “LA 28” and the Olympic rings. While the letter “L”
and the figure “28” are stable, the “A” is interchangeable, to reflect the
diversity and many faces of Los Angeles. Leading figures from the worlds
of sport, entertainment, the economy and the arts helped to create the
emblem by contributing their own personal “A”. The emblem is designed to
be a platform for creativity, self-expression and inclusion.
Creation and The emblem was built for the digital age, and is designed to evolve over
launch: time. It was unveiled on 1 September 2020.

CANDIDATURE The winged silhouette is a reference to the

EMBLEM: city’s name, which means “the angels” in
Spanish. The angel is awash with rays of
sunlight, and its colours are the vibrant
hues of a Los Angeles sunset. The soaring
figure reflects the Angeleno spirit of
optimism and progress, and the striving of
the athletes to achieve their dreams and
produce their greatest performance. The
emblem was created by 72andSunny, an
agency in Los Angeles.
SOURCES
‒ “Creativity, diversity and limitless possibility celebrated as LA28 reveals new emblem”,
news, website of the International Olympic Committee, 1 September 2020.
‒ “LA28 emblem shows diversity and creativity”, news, website of Los Angeles 2028,
1 September 2020.
‒ “LA unveils official logo and slogan inviting the World to follow the sun”, news, website of
Los Angeles 2028, 16 February 2016.

CREDITS
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IMAGES
Cover: © 2018 / International Olympique Committee (IOC) – All rights reserved /

LEUTENEGGER, Catherine.
Document:
‒ Games emblems: © International Olympic Committee (IOC) – All rights reserved.
‒ Candidature emblems: © International Olympic Committee (IOC), with the exception of some
candidature committees – All rights reserved.

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OSC REFERENCE COLLECTION

Sharing history, enriching the future

The emblems of the

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 2

In the same collection:

Art competitions at the Olympic Games

© 2021 International Olympic Committee

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 3

Lake Placid 1932 9

Los Angeles 1932 10

Cortina d’Ampezzo 1956 16

Squaw Valley 1960 19

Lake Placid 1980 29

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 4

Los Angeles 1984 32

Salt Lake City 2002 44

Milano Cortina 2026 64

Los Angeles 2028 65

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 5

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 6

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 7

The emblem sometimes appeared differently on the objects and

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 8

LAKE PLACID 1932

Designer: Witold Gordon

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 9

LOS ANGELES 1932

On the various materials and documents on which it featured, the emblem

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 10

Designer: Fritz Uhlich

Description: The emblem features the Alpspitze, a mountain in the Garmisch-

‒ “Garmisch-Partenkirchen 1936 – Emblem”, website of the International Olympic Committee

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 11

Designer: Johannes Boehland

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 12

Description: The emblem comprises the Palace of Westminster – the UK Houses of

Certain versions of the emblem featured variations in the design of the

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 13

Designer: Gunnar Furuholmen

Description: In the centre of the emblem, on a sky-blue background, is a representation

‒ VI Olympic Winter Games Oslo 1952, Organisasjonskomiteen, Oslo, c. 1953, p. 78.

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 14

There were several variations of the emblem, with the rectangular

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 15

CORTINA D’AMPEZZO 1956

Designer: Franco Rondinelli

‒ “Cortina d’Ampezzo – Emblem”, website of the International Olympic Committee (2020).

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 16

Designer: John Sjösvärd

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 17

Description: The emblem contains a depiction of Australia on which there is an Olympic

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 18

Designer: Knollin Advertising Agency, San Francisco

‒ IOC Historical Archives/Olympic Games – Squaw Valley 1960 – Emblem – 1960.

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 19

‒ “Hall of the She-wolf”, website of the Musei Capitolini.

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 20

Designer: Arthur Zelger

‒ Offizieller Bericht der IX. Olympischen Winterspiele Innsbruck 1964, Organisationskomitee

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 21

Designer: Yusaku Kamekura

The Olympic Studies Centre www.olympic.org/studies studies.centre@olympic.org 22

Designer: Roger Excoffon