‘In this Case Study we explore symbolism and semiotics and the deconstruction of the contemporary media message. Taking graphic design today, we shall unpack it; taking one story to see how it is reported globally. We shall investigate 3 versions of the same story from 3 different countries. How is it reported - headline? Text? In this Case Study we will unpack its meaning and distorted meaning.’
The lecture explores how graphic design adapts when applied to global events, using the Olympics as a case study. The Olympics’ visual identity changes every year based on the host country, making it a great example of how design reflects cultural identity.
Today, designers must think globally rather than creating for just one country. News and design spread worldwide, and audiences are more aware of different cultures. Finding examples where design significantly changes across global contexts is rare because of this interconnectedness.
The Olympics logo and branding are a visual representation of the host country, rather than just the sporting event. The core identity of the Olympics remains the same, but each year’s branding reflects national culture through different design approaches.
Designers create a structured system based on elements from the host country.
Example: Mexico 1968 (Lance Wyman)
Inspired by Mexican ceramics and traditional patterns, The logo and typography expand into a cohesive design system. Developed further into wayfinding, typefaces, and environmental graphics.
Example: Munich 1972 (Otl Aicher)
Built on a modernist grid system rather than direct national symbolism. The rigorous, structured design itself became the identity. Iconography followed a diamond-shaped grid for consistency.
Direct symbols from the country are used in the design.
Example: Tokyo 1964 (Masaru Katsumi & Yusake Kamehura)
Simple yet strong rising sun symbol. Thoughtful design choices: gradient in red, gold detailing, refined typography. Instantly recognizable as Japanese without excessive details.
Example: Sydney 2000 (Michael Bryce)
More illustrative approach: uses a boomerang figure, Sydney Opera House shape, it Feels hand-drawn and expressive, reflecting Sydney’s cultural identity.
Example: Athens 2004