Canadian design super-duo Hulse&Durrell, worked on what could only be described as my dream project. Researching 120 years of Olympic design heritage, they then documented and digitised hundreds of assets for use on officially licensed merchandise:
Beginning with the core elements of each Olympic Games identity (emblems, pictograms, mascots, and official posters), we set out to find their most authentic sources. The journey took us from the Olympic Museum archives in Switzerland to Olympic historians, private collections, and past-Games design directors around the world.
Where possible, emblems, mascots, and pictograms were re-created with the original techniques of their time. Design manuals originally intended for use with protractors, compasses and paintbrushes became blueprints once again – this time with a digital toolset in mind.
For wordmarks, classic typefaces like Univers, Helvetica, Times, and Futura were adapted to reflect the movable type printing process of their respective times and places. Physical artifacts were also referenced against the modern Pantone colour matching system to ensure tonal authenticity.
The result is the most comprehensive, authentic Olympic art and design collection ever created.
Jealous? I’m green with envy.
The Olympic rings have been whored around so much they’ve become valueless: a status symbol for a few corporations to tote like a badge for several weeks, impressing almost no one except themselves.
Increasing commercialism of the games threatens to undermine the Olympic movement.
Rather than showcase British interactive design talent, the biggest cultural event of our generation has been represented online by an uninspired mess that flies the flag for the status quo.
Last weekend I visited the new Olympic velodrome for the UCI Track Cycling World Cup. Part of London Prepares, a programme of test events before the games take place this summer, it was thrilling to see athletes up close as they also prepare for London 2012. The building is absolutely stunning, although Ben Terrett notes a few design oversights that remain.