Does anyone like the olympic logo

Via Wikimedia Before the outbreak of war, London had been chosen for the Olympics. Best use of the Olympic flame — The Olympic flame was first used in the modern era during the Olympics. Via Wikimedia Bronze This emblem has a classic feel—a simple border flanked by olive branches of peace. Via Wikimedia Silver This logo cleverly evokes a grecian column with the Olympic rings and the number for the th anniversary of the modern games. Via Wikimedia They even managed to subtly reference the host city by mimicking the shape of the Sydney Opera House in the flame.

Logo for the Winter Games. Via Wikimedia The vibrant colors and fluid shapes feel active and energized. Via Wikimedia Bronze This mountainous logo goes for the abstract approach while staying recognizable. Gold This logo represents a snow crystal and a sun rising over a mountain—all in an abstract, geometric style.

Via Wikimedia The yellow, orange and blue colors represent the varied Utah landscape, capturing both the essence of its arid host city and that of winter.

Best use of patriotic imagery — While the Olympics seek to bring the peoples and nations of the world together, the host country can rightfully feel pride in putting on such a complex and elaborate event. Via Wikimedia Silver This logo is trying really, really hard. Gold This bold design is evocative even without much text.

Best alternative Olympic logo — With more than 45 Summer and Winter Games now undergone, it can be difficult to create an original logo utilizing the same old iconography of Rings, Flame and dudes throwing stuff. Via Wikimedia Bronze A simple wordmark can be a great choice in some cases, but this typeface is just…tacky. Silver Logo for the Summer Games. Gold This is one of the most active and exciting of all the Olympic logos, like a twirling ribbon or swirling tornado.

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There have been a few cities that have got aspects of it right but there have been logos over the years that vary from the culturally uninspiring to the controversial.

A simple black and white line design, the majority of the Berlin Games logo is taken up by a sinister-looking eagle , a common Nazi symbol, stood atop the Olympic rings.

The growth of multinational companies after the second world war fuelled a need for corporate identity schemes that could visually communicate with international, multilingual audiences. The logo of the previous Tokyo Games in , designed by Yusaku Kamekura and Masaru Katsumi, features a red sun with gold rings and bold letters that perfectly epitomises this minimalist style. Its uniformity is achieved through a restrained colour palette and a complex geometric grid format that underpinned all elements — from posters to the iconic pictographs for each sporting discipline.

The color is effective, and helps understanding. The typography is peculiar and unpleasant. A visual disaster; combining the rings, a laurel leaf, and the American shield in an overlapping pattern is impossible.

The typography goes on its own unrelated way. Strange and lacking focus. The Olympic rings become subordinated to the eagle and bell forms. The spirit of the Olympics is totally absent. A curious solution that looks like a travel brochure cover. All the elements refuse to relate to one another.

The effect is ordinary and dull. This logo reveals that not all images will work together. The rings and parliament remain unrelated. The typography is sad. The architectural form behind the rings remains a mystery, but overlapping them has little merit. There is no excitement here. The peculiarity between the architecture and the rings in this case becomes strangely memorable.

At best it is clear. The combination of blue and white is pleasant. The natural rendering of the mountains combines well with the Olympic rings. The complex edge of the logo creates some energy, but the complexity is unpleasant. There is an all-over sense of fussiness. Resembles a bookplate more than an Olympic event. Too many elements involved; the torch, the continent, the rings, the lozenge, and laurel leaves. Too much of everything. Not bad.

The star form is distinctive and unusual. The visual clarity and abstraction of the International Typographic Style often called the Swiss school was well suited to the job and also adopted for global events like the Olympics.

Its uniformity is achieved through a restrained color palette and a complex geometric grid format that underpinned all elements—from posters to the iconic pictographs for each sporting discipline. The logo for the Mexico City Olympiad, for instance, is widely revered for embodying local cultural identity by combining contemporary and Mexican folk art. Through its use of repeat line patterns and bright colors, a mesmeric modern logo that could be animated for film and TV was created.

Other designs since then have tried to achieve the same iconic status by striking the right balance between cultural identity and sport. It caused huge public outcry when first released and was even derided in the design press. Yet after Team GB did so well, winning 65 medals, the youthful, graffiti-inspired logo and creepy one-eyed mascots were reappraised as a successful attempt to break with the formulaic look of previous games.

But branding design experts have been less complimentary about the attempt to visually combine the gold medal, Olympic flame and Marianne the symbol of French republicanism into the logo.