Of all the instances in which graphic communication is necessary to transcend language barriers, the Olympic Games are, if not the most important, probably the most visible 레미제라블 무료. We take the little icons of swimmers and sprinters as a given aspect of Olympic design, but the pictograms were a mid-20th Century invention—first employed, in fact, the last time London hosted the games, in 1948 (some pictographic gestures were made at the 1936 Berlin games, though their mark on international memory has been permitted to fade because of their association with Third Reich ideology) 다운로드.
The 1948 London pictograms were not a system of communication so much as a series of illustrations depicting each of the competitive sports, as well as the arts competition, which existed from 1912 to 1952 and included architecture, literature, music, painting and sculpture 샤롯데체 다운로드. In 1964, the Tokyo games took pictogram design to the next level by creating a complete system of typography, colors and symbols that would be applied across Olympic communications platforms 다운로드.
In a paper on the history of Olympic design and national history, Jilly Traganou, an associate professor at The New School, writes:
Since Japan had not adopted the principles of the International Traﬃc Signs, introduced at the United Nations Geneva conference in 1949 and accepted by most European countries, the Olympics were regarded by graphic designers as an opportunity to establish a more uniﬁed and internationally legible symbolic language across the country 다운로드. It was along these lines, searching for universally understood visual languages, that pictograms (ekotoba, in Japanese, a word used prior to the design of pictograms) were for the ﬁrst time designed for the Olympic Games, embodying at the same time [founder of the International Olympic Committee] Baron deCoubertinʼs aspirations of universalism 컴퓨터 바탕화면 다운로드.
Keep reading: Smithsonian – The History of the Olympic Pictograms: How Designers Hurdled the Language Barrier