When it comes to Olympic motifs, the five Olympic rings – comprising five interlinked rings in blue, yellow, black, green and red – are among the most significant ones of all. This design is the brainchild of Pierre de Coubertin, the founder of the modern Games, in an effort to promote the Olympic spirit: the union of the five continents. From its advent in 1913 to the present day, the Olympic Rings have become more than just a symbol of the Games. Many Olympic athletes, coaches, and even staff proudly display the emblem, whether as a badge on a tie or a tattoo peeking out from under a sleeve—the Olympic Rings have transcended into something to live by. Beyond this universal symbol, each host country is tasked with creating a logo that highlights its cultural traditions and national style. These unique emblems represent the host nation’s characteristics and, when paired with the Olympic Rings, form a bridge between Olympic Games past and present.

Historically, throughout the first half of the twentieth century, Olympic logos primarily featured the five rings as the central element, accompanied by the host city’s name and the year of the event. It is only in recent years that we have seen more distinctive designs, such as the current emblem, which immediately evokes the silhouette of a woman’s face. The Rings have become distinct visual symbols in their own right, each with its unique design language after more than half a century of evolution.

Coat Of Arms And Logos

Historically, families with long lineages and their inherited trades often had a coat of arms design as a logo. Over time, a trend emerged where logos were crafted using the initial uppercase letter of the family name as the core element. Most of the logos on seals and emblems were accompanied by images of mythical beasts, wings, a circular crown of laurels, or palm leaves symbolising victory. During the nascent stages of Olympic logo design, these traditional elements were incorporated to complement the five rings. For instance, the logo for the 1924 Paris Olympics, exactly a century ago, featured an antiquated shield. By the 1932 Los Angeles Olympics, the addition of the motto “Citius, Altius, Fortius” (Faster, Higher, Stronger) was elegantly displayed. The design style of that era favored a decorative, illustrative approach rather than creating a memorable graphic.

Enter Modern Designs

By the 1960s, design philosophies began to shift significantly.  The industry rode the wave of redesigning logos, embracing the Corporate Identity System concept. This approach proved new ways for enterprises to identify themselves: large corporations across Europe and America swiftly replaced their traditional, ornamental, or family crest-like logos with simple geometric patterns. The intention was clear—enhance recognisability and make the logos more memorable. This emphasis on structural integrity and ratios meant that techniques could be replicated elsewhere, unlike the hand-drawn, decorative designs that were open to interpretation. The goal was for viewers, regardless of location, to perceive the logo in the same way—simple and direct, much like the Olympic Rings.

For the 1967 Olympics in Canada, designer Georges Huel created the primary logo for the event, COJO, which combined the Olympic Rings with the initial “M” for Montréal. This design employed a grid system and specific colour scheme for printed materials. The three design elements—Olympic Rings, COJO logo, and designated colors—were consistently used across tickets, posters, and venue signs. COJO was the French acronym for the organizing committee, fitting as Montréal is a French-speaking city in Quebec. Consequently, all publications and memorabilia were published in English and French.

The 1980 Moscow Olympics introduced a logo representing the geometric beauty of socialist-style monuments. Designed by Vladimir Arsentev, the logo featured lines converging into a central red star, reminiscent of Stalinist architecture with its skyscrapers and minarets, built in Moscow between 1949 and 1956. Both the 1976 and 1980 logos referenced that of the Munich Olympics, emphasising modern, straightforward designs.

The “Sunbeam Emblem,” designed by Coordt von Mannstein for the 1972 Munich Olympics, presented meticulously arranged concentric rings, forming a spiral geometric pattern symbolizing the rebirth of Germany. This logo, combined with vertical lines and the Univers 55 typeface, was used across all official materials, including first-day covers and other publications.