Graphics Reference
In-Depth Information
A good example of this is designing for global events such as the Olympic Games,
which must cater for a vast multi-national audience. American graphic designer
Lance Wyman took on this challenge to produce the graphic identity and information
system for the 1968 Mexico City Olympics. The problem was that the information
had to be conveyed to all people, no matter what their background or their native
language. The solution was to design information and a wayfinding system based on
simple pictographic imagery. The icons were constructed using a modular format so
that they could be applied across a multitude of platforms. These included site iden-
tification, directional signs, posters, maps, uniform patches and even giant colour-
coded balloons hanging over the sports arenas. The resulting design was seen as so
successful that the
New York Times
wrote, 'You can be illiterate in all languages and
still navigate the surroundings successfully.'
The success of Wyman's solution lay in his ability to understand the needs of the
audience. He considered the restrictions put in place by such a diverse group. He also
thought about the user experience of how to navigate a busy city. This led to the im-
plementation of a functional and user-friendly system that has become a blueprint for
several others.
Monochrome pictograms for the London 2012 Olympic Games designed by SomeOne design
practice. The images are based on actual photographs of iconic poses taken from each sport.
When designing for an international audience, simplicity and clarity are the qualities
to keep in mind. If there are fewer elements to distract, the message will be more effi-
ciently delivered. Again using the Olympics as an example, how do you demonstrate
various sporting events clearly without using words? For his graphic identity for the
1972 Munich Olympics, German designer Otl Aicher devised a system based on a
strict modular grid of vertical, horizontal and 45-degree lines. Each Olympic sport
had a pictograph designed for it based on a simple line drawing of an abstract athlete.
The symbols were derived from typical postures or poses from each sport, emphasiz-
ing the motion and the equipment involved to aid their identification. The pictographs
were used extensively throughout the Games and were applied to signage, informa-
tion booklets, maps, event documents and tickets. Those attending the Games quickly
became familiar with the visual language.
