The Munich 1972 Olympics posters have since become icons in design and art, coveted by collectors. Germany had begun meticulously planning the visual and aesthetic aspects of the games very early on, even before the 1968 Olympics in Mexico. The country invites a score of designers and artists to contribute. Exhibitions and sales of posters were organised pre-Olympics, extending the reach of these designs beyond the sporting event itself. Notably, Max Bill, a Bauhaus pioneer and director of HfG Ulm, contributed to these efforts, solidifying the posters’ impact and fostering international recognition. 

The influence of Olympic posters extended beyond graphic design and into visual art. For instance, the swimming poster designed by artist David Hockney for the Los Angeles 1984 Olympics used his famous Polaroid photo collage technique, capturing the essence of summer and later becoming a beloved piece of home decor. In the same year, he also created a similar skating poster for the Winter Olympics. Hockney’s work exemplifies how Olympic posters can transcend beyond their original function, evolving into cherished artwork for the years to come.

Moscow 1980 Olympics

Graphic design, artistic flair, famous photographs… Among all Olympic poster designs, Moscow 1980’s stood out for many reasons. In addition to the former Soviet Union’s famous political propaganda posters, other posters featured a mascot, Misha the brown bear, a character created by picture book author Victor Chizhikov. Under Chizhikov’s brush, Misha’s colourful sash, Olympic rings, and lively personality made him a popular mascot at the Games.

The Olympics in the New Millennium

The Sydney 2000 Olympics marked a new generation of poster design at the turn of the millennium. The poster designs combined Aboriginal elements with new visual design trends.

In contrast to the more tightly organised elements of the Mexico City Olympic posters a few decades earlier, the Sydney posters are simpler, more energetic, and feature a dynamic sense of movement. The circular lines of the Olympic Rings complement the round sails of the Sydney Opera House, which is featured in the left corner of the poster. 

Meanwhile, for the Athens 2004 Olympics, the Olympics returned to its historical roots. The poster takes on a more casual approach, depicting an olive tree wreath awash in watercolour. These two posters serve as a return to more natural designs following the fatigue over computer graphic design that dominated the late 1990s.

Tokyo 2020 Olympics

Japan hosted the Summer Olympics in 2020, the country’s first time since 1964. Asao Nogao, a 1969 architectural graduate of Tokyo Zokei University, designed a poster influenced by Japanese family crests and the Edo period’s checkerboard patterns. A traditional Japanese colour, indigo, is used as the sole colour of the poster, a simple but effective choice. The circular design consists of three different sized rectangles, reflecting different cultures and perspectives that come together to maintain unity in diversity. There was no gap between the Olympic and Paralympic Games in terms of publicity and design that year, emphasising that the Olympic Games are a platform for diversity and inclusion to connect the world.

Paris 2024 Olympics

This year, in Paris, the posters feature a dual design that blends the Olympics and Paralympics. This marks the first time in Summer Olympic history that the Olympic and Paralympic posters have been designed together. Artist Ugo Gattoni created a “pointillist landscape” entirely by hand, despite its seemingly computer-generated look. The lively tone of the poster, reminiscent of a carnival, references the World Expos held in Paris during the early modern Olympic era. Using colourful dots, Gattoni skillfully interweaves mini scenes and stories into the design. The poster aims to capture attention with its large size, and then allow viewers to explore the detail-rich composition and intricate narratives that lie within.

Translation by Sophia Zhang