Olympic-Brand-Guidelines Compressed Removed Removed

Olympic BRAND
International September 2022

Olympic
Committee
GUIDELINES
These guidelines are intended to help bring the Olympic
brand to life – a visual identity inspired by our heritage and
driven by our vision of building a better world through
sport. The system balances consistency and flexibility
to maximise impact through every application. Just like
in sport, there are lines to stay within, but those margins
aren’t meant to stop the exceptional; they simply frame it.
Let's move the world.
2 Olympic Brand Guidelines International Olympic Committee

CONTENTS
1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 5. Typography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Heritage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Alignment and grid. . . . . . . . . . . . . . . . . . . 102

The Olympic brand . . . . . . . . . . . . . . . . . . . . . . . 5 Olympic Headline. . . . . . . . . . . . . . . . . . . . . . . . 43 Editorial. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Removing containers. . . . . . . . . . . . . . . 103
Brand framework. . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Olympic Sans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Digital application . . . . . . . . . . . . . . . . . . . . . . . 75 Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Brand characteristics. . . . . . . . . . . . . . . . . . . . 7 Olympic Serif. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Adding elements. . . . . . . . . . . . . . . . . . . . . . . . . 76 Guidance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
System elements. . . . . . . . . . . . . . . . . . . . . . . . . . . 8 OpenType features. . . . . . . . . . . . . . . . . . . . . . 49 Post-processing. . . . . . . . . . . . . . . . . . . . . . . . . . 77 10. Infographics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
2. Olympic symbol. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Tracking, kerning, leading. . . . . . . . . . . 50 8. Illustrations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Highlighting data. . . . . . . . . . . . . . . . . . . . . . 108
Full colour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Paragraph alignment. . . . . . . . . . . . . . . . . . . 51 Concept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Part-to-whole charts. . . . . . . . . . . . . . . . 109
Monochrome. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Rags and widows. . . . . . . . . . . . . . . . . . . . . . . . 51 Style and colour. . . . . . . . . . . . . . . . . . . . . . . . . . 82 Comparison charts. . . . . . . . . . . . . . . . . . . 110
Isolation and minimum size. . . . . . . . 13 Line length. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Illustration types. . . . . . . . . . . . . . . . . . . . . . . . . . 83 Infographics examples. . . . . . . . . . . . . 111
Backgrounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Typography colour . . . . . . . . . . . . . . . . . . . . . . 53 Combining illustration types . . . . . . 84 Infographics with icons. . . . . . . . . . . . 112
Olympic symbol on photos. . . . . . . . . 15 Combining typefaces. . . . . . . . . . . . . . . . . . 54 Illustration types guidance . . . . . . . . . 85 Infographics guidance. . . . . . . . . . . . . 113
Guidance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 6. Graphics devices. . . . . . . . . . . . . . . . . . . . . . . . . 57 Illustration index. . . . . . . . . . . . . . . . . . . . . . . . . . 87 Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
3. Colour. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Field of play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Cropping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 11. Composition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Olympic colour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Field of play cropping . . . . . . . . . . . . . . . . . 60 Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Grids and formats. . . . . . . . . . . . . . . . . . . . . 118
Medal colour. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Sport lines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Guidance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Digital grids and formats . . . . . . . . . 119
Extended colour. . . . . . . . . . . . . . . . . . . . . . . . . . 20 Combining graphics. . . . . . . . . . . . . . . . . . . . 62 9. Pictograms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Rings and alignment . . . . . . . . . . . . . . . . 120
Combining colour. . . . . . . . . . . . . . . . . . . . . . . . 21 Guidance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Universal pictograms . . . . . . . . . . . . . . . . . . 92 Fine lines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Guidance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Modifying. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Clear space and minimum size . 93 A4 portrait layouts . . . . . . . . . . . . . . . . . . . 122
4. Logo system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Summer sports. . . . . . . . . . . . . . . . . . . . . . . . . . . 94 A4 landscape layouts . . . . . . . . . . . . . . 123
Tier 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 7. Photography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Winter sports. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Display layouts. . . . . . . . . . . . . . . . . . . . . . . . . . 124
Tier 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Representing diversity. . . . . . . . . . . . . . . . 69 Functional icons. . . . . . . . . . . . . . . . . . . . . . . . . 97 Digital layouts. . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Colourways. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Spacing in digital. . . . . . . . . . . . . . . . . . . . . . 126
Guidance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Action. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Backgrounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Layering digital components. . . 127
Designations and labels. . . . . . . . . . . . . . 40 Emotion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Pictogram colour. . . . . . . . . . . . . . . . . . . . . . 101 12. Contact information. . . . . . . . . . . . . . . . . 128
1 INTRODUCTION
5 The Olympic brand
6 Brand framework
7 Brand characteristics
8 System elements

the Olympic brand Our vision is to build a better world
through sport. To inspire, by being the
best that we can be. The best of what
we can achieve. Together.
The roots of our brand date back nearly 3,000

years to the ancient Olympic Games. Tradi-
tions and values developed over millennia
– promoting peace, friendship and respect
through sport.
Since then, the Olympics have left an imprint on

cities, measured greatness and inspired hope.
Sport has the power to bring people together.
To break down barriers, drive progress and
move the world forward. Solidarity, equality,
achievement and peace. These ideals can be
traced all the way back to the ancient Games
and the philosophy of Olympism.
Along with the Olympic rings, our values

form the foundation of our identity – wel-
coming the world through all that we do.
We hold our torch high and aspire to be our best.
-> More on Olympism
5 Introduction Olympic Brand Guidelines International Olympic Committee

BRAND FRAMEWORK A framework designed to bring purpose to
every expression of the Olympic brand.
Purpose Vision Positioning Values
Inspire human Build a better world Unite the world on and Excellence, respect
potential every day through sport off the field of play and friendship
Since ancient times, the Olympic Games have What can sport accomplish in a complex and The Olympic Games are about bringing people Our values help bring out the best in us. We
measured human potential — inspiring the best ever-evolving world? A lot. Sport shows us together. Nations and generations of diverse strive for excellence and encourage people to
of us. Unlocking potential isn’t just for elite ath- we’re all chasing the same dreams — that backgrounds and beliefs. A celebration of what do the best they can. We promote respect in
letes chasing world records. Potential is inside anyone, from anywhere, can aspire to compete we share and the power of our differences. many different ways, respect for yourself, for the
everyone looking to get better — to be better — at the highest level. Sport can help people find Faster. Higher. Stronger. Together. rules, for your opponents, for the environment
every single day. their confidence, their spirit, their creativity. and for the public. We celebrate friendship,
which is the hallmark of the Olympic Games.
Sport can build friendships and bridge nations. There is more that unites than divides us.
Athletes are competitors, but respect each
other in victory and defeat. Sport is a way in —
a universal language accepted everywhere. It
shows us we’re not that different after all.
-> More on Vision and Missions

BRAND characteristics
The qualities of the Olympic brand have been
shaped over decades, even centuries. These
characteristics inform every element and
expression of our brand and can be dialled up
or down to reflect different needs.
Hopeful
Inspiring optimism about the future.
Promoting peace through sport. Ambition.
Aspiration. Promise and potential.
Universal
Shared by all people, everywhere. Everlasting.
Timeless. Essential. Enduring.
Inclusive
United in diversity. United in solidarity. Bringing
the world together. Uniting people through
empathy and celebrating differences and
individuality.
Vibrant
Full of energy and enthusiasm. Dynamic,
inspiring, active and exciting. Igniting passion
in us all.
Progressive
Innovative and sustainable ideas, methods and
milestones that help move the world forward.
Positive social impact for a better world. Push-
ing the limits. Inspiring potential.

System Elements The system elements were inspired by the brand
framework and brand characteristics. They are
elegant to bold and energetic. The spacious and
structured approach to composition helps each
designed to enhance consistency while allow- application feel more open, inviting and inspiring
ing flexibility across various mediums. System — reflecting our brand personality and connect-
elements may be combined in various ways to ing all that we do.
create distinct expressions, from simple and
Olympic symbol Colour Logo system Typography
International
Olympic
Committee abcdefghi
Graphic devices Photography Illustrations Pictograms
Infographics Grids

2 OLYMPIC SYMBOL
11 Full colour
12 Monochrome
13 Construction, isolation area and minimum size
14 Backgrounds
15 Olympic symbol on photographs
16 Guidance

Olympic Symbol The Olympic rings represent the world They were designed by the founder of
coming together. Five connected rings, the modern Games, Pierre de Coubertin,
five continents connected in competition and debuted at the Olympic Games
and celebration — Africa, the Americas, Antwerp 1920.
Asia, Australia and Europe.
10 Olympic symbol Olympic Brand Guidelines International Olympic Committee

Olympic symbol
Full colour
The full-colour Olympic rings — blue, yellow,
black, green and red on a white background;
colours combining to represent the flags
of all nations when the rings were created
in 1913. This is the preferred version of the
Olympic rings.

Construction,
isolation area
and minimum size
Constructed on a strict geometric grid, one
ring is equal to 12 times the thickness of a ring.
The space between two rings is equal to the
thickness of one ring. Always use the artwork
provided and do not alter in any manner.
Isolation area
The isolation area corresponds to 1/4 the diam-
eter of a ring. No other typography, text, graphic
and/or photographic element may overlap the
Olympic rings.
Minimum size
The Olympic rings should appear no smaller
than 8 millimetres or 30 pixels wide. In special
cases, provided that the legibility and integrity
of the Olympic rings are retained, the rule on
minimum size might not be applied, with the
prior consent of the IOC.
Isolation area Minimum size
1/4 X X 1/4 X
8mm/30px
1/4 X

backgrounds Full-colour rings may be applied to white
backgrounds only. Black or white rings may
be applied to any solid coloured background
as long as visual integrity and legibility are
maintained.
White Black Blue Yellow Green Red Gold Silver Bronze

OLYMPIC symbol ON
PHOTOGRAPHs
When placing the rings on a photograph,
ensure legibility is maintained. Do not modify
any colours within the rings to create contrast.
Applying on light backgrounds

The full-colour rings may be applied on light
backgrounds in photographs as long as legi-
bility is not impacted. As a general rule, a light
background in a photograph should not include
a tint of black that is darker than 5%.
For more information on applying the Olympic

rings on light backgrounds, please refer to the
Olympic Symbol Guidelines.

guidance Do not apply unauthorised one-colour versions. Do not add drop shadow. Do not modify any colours.
The Olympic rings should never be altered in

any manner, including modifying the official
colours, or the order of the colours. Always use
supplied artwork (never recreate the rings).
Do not rotate. Do not recreate with objects, shapes, people or products. Do not place any elements over the top of the rings.
Do not fill with imagery. Do not add gradients. Do not distort.

3 COLOUR
18 Olympic colour
19 Medal colour
20 Extended colour
21 Combining colour
22 Guidance

Olympic COLOUR Blue Yellow Black
Our primary brand colours are blue, yellow,

black, green, red and white. They form the
foundation of everything Olympic. These
colours are used to provide accessibility,
simplicity and consistency throughout all
brand communications.
Pantone 3005 C Textile Cotton 18-4440 TCX Pantone 137 C Textile Cotton 14-1064 TCX Pantone 426 C Textile Cotton 19-4205 TCX
HEX #0078D0 Madeira 1297 HEX #FFB114 Madeira 1137 HEX #000000 Madeira 1007
RGB 0, 120, 208 RAL 5015 RGB 255, 177, 20 RAL 1028 RGB 0, 0, 0 RAL 9005
CMYK 100, 40, 0, 0 CMYK 0, 35, 100, 0 CMYK 0, 0, 0, 100
Green Red White
Pantone 355 C Textile Cotton 17-6153 TCX Pantone 192 C Textile Cotton 18-1763 TCX Pantone White Textile Cotton 11-0601 TCX
HEX #00A651 Madeira 1051 HEX #F0282D Madeira 1147 HEX #FFFFFF Madeira 1001
RGB 0, 166, 81 RAL 6037 RGB 240, 40, 45 RAL 3020 RGB 255, 255, 255 RAL 9016
CMYK 100, 0, 100, 0 CMYK 0, 95, 90, 0 CMYK 0, 0, 0, 0
18 Colour Olympic Brand Guidelines International Olympic Committee

Medal colour Gold Silver Bronze
The medal colours provide a beautiful, more

neutral complement to the vibrant Olympic
colours. They work especially well for special
communications around achievement, herit-
age and legacy. When printed, metallic ink is
preferred where possible to produce the most
authentic visual expression of these tones.
These colours are contemporary and distin-

guished, and play an important part in Olympic
history. Olympic medals were awarded to win-
ners when the modern Games began at Athens
1896, with the iconic gold, silver and bronze
introduced at St Louis 1904. Pantone 871 C Textile Paper 17-1036 TPX Pantone 877 C Textile Paper 14-5002 TPX Pantone 8023 C Textile Paper 17-1340 TPX
HEX #9F8F5E Textile Cotton 17-1028 TCX HEX #969696 Textile Cotton 17-5102 TCX HEX #996B4F Textile Cotton 17-1147 TCX
RGB 159, 143, 94 Madeira 424 RGB 150, 150, 150 Madeira 442 RGB 153, 107, 79 Madeira 428
CMYK 37, 37, 72, 7 RAL 8000 CMYK 0, 0, 0, 50 RAL 7045 CMYK 34, 56, 71, 16 RAL 8023

Extended colour *
The extended colours are designed only for

digital interfaces, infographics, illustrations
and product designs where tone-on-tone
HEX #00287F HEX #0049AA HEX #0078D0 HEX #00B4EB HEX #5ED6FF HEX #ABEBFF
pairings improve the communication or user RGB 0, 40, 127 RGB 0, 73, 170 RGB 0, 120, 208 RGB 0, 180, 235 RGB 94, 214, 255 RGB 171, 235, 255
experience; for example, on hover states or CMYK 100, 90, 5, 30 CMYK 100, 80, 0, 0 CMYK 100, 40, 0, 0 CMYK 70, 10, 2, 0 CMYK 53, 0, 2, 0 CMYK 25, 0, 3, 0
disabled buttons.
*
These colours may be used in support of
Olympic colours only, and should not be used
prominently in application. This helps maintain
the meaning and impact of the Olympic palette.
Outside of illustrations, extended colours may HEX #E67324 HEX #FA841E HEX #FFB114 HEX #FFCE19 HEX #FFE045 HEX #FFF08C
RGB 230, 115, 36 RGB 250, 132, 30 RGB 255, 177, 20 RGB 255, 206, 25 RGB 255, 224, 69 RGB 255, 240, 140
be applied only with similar tones. For example, CMYK 5, 70, 100, 0 CMYK 0, 58, 100, 0 CMYK 0, 35, 100, 0 CMYK 0, 18, 100, 0 CMYK 0, 10, 83, 0 CMYK 0, 0, 53, 0
on an infographic, the extended blues may be
used in support of Olympic blue. *
*Olympic colour
HEX #005A46 HEX #00804D HEX #00A651 HEX #00CB50 HEX #6BDB83 HEX #AAE8B8
CMYK 100, 45, 85, 30 CMYK 100, 20, 95, 16 CMYK 100, 0, 100, 0 CMYK 75, 0, 82, 0 CMYK 52, 0, 60, 0 CMYK 27, 0, 32, 0
HEX #980F30 HEX #BF192B HEX #F0282D HEX #FF555F HEX #FF9196 HEX #FFC7C9
HEX #000000 HEX #2E2E2E HEX #5A5A5A HEX #969696 HEX #B4B4B4 HEX #E5E5E5

Combining colour These pairings provide a general guide for
combining colours across all Olympic brand
elements. Any colour may appear on white.
Olympic colours and medal colours may be
combined with white or black only. For example,
white or black text may appear on an Olympic
green background.

Guidance Use Olympic colours to flood a design. Only headline text may appear in a colour. Use medal colours to flood a design.
Solid colour
 
Use colour boldly in application to create International International International
space and impact, with big hits of white and Olympic
Committee
Olympic
Committee
Olympic
Committee
big hits of colour. Select colours that align with
the tone or theme of the communication. For
example, white feels more elegant and red
more energetic. When in doubt, use white —
a key Olympic colour and a neutral backdrop
for content.
When designing a series of applications that

appear together, a solid Olympic colour or OLYMPIC OLYMPIC OLYMPIC
medal colour may be used across each applica-
tion. The series collectively creates an Olympic CITIES VENUES LEGACY
look. Avoid a series that features only part of the
Olympic colour palette, for example Olympic
blue and red exclusively.
For digital interfaces, apply colour consistently,

distinctively and intentionally, to accent specific
elements such as buttons, text highlights or
Do not flood a design with an extended colour. Do not apply colour headline text to a non-white background. Do not combine colours in unauthorised ways.
media tags.
Use colour to indicate interactivity with hover

and focus states.
  
International International International
Avoid gradients or effects in most circum- Olympic Olympic Olympic
Committee Committee Committee
stances. Olympic colours are most powerful
when pure. In digital, use black or white gradi-
ents only when overlayed on images.
Combining colour
Olympic colours and medal colours may be
combined with white or black only. For example,
white or black text may appear on an Olympic
green background.
OLYMPIC OLYMPIC OLYMPIC
CITIES VENUES LEGACY

Guidance Colour should be separated by generous areas of white or black in most layouts. Do not use bright Olympic colours side by side.
Colours should be separated by generous areas

of white or black in most instances. Do not use
bright Olympic colours side by side. In layout,
colour should be used to create hierarchy
and space.
For digital interfaces, favour black and white

backgrounds as other Olympic colours are hard
to consistently combine with the colours used
for accent elements such as buttons, tags,
and page furniture. Black backgrounds or dark
mode is also more sustainable as it decreases
energy consumption.
FROM CARBON NEUTRAL

TO CLIMATE POSITIVE

4 LOGO SYSTEM
26 Tier 1 lockups
34 Tier 2 lockups
38 Colourways
39 Guidance
40 Designations and labels

LOGO SYSTEM The logo system is a consistent way The system can be adapted for various
to arrange logos that unites IOC entities, orientations and applications, from
programmes, products and events. large-scale to small screens. There
It creates a coherent visual rhythm to are two logo system categories: Tier 1
lock up designations with the Olympic for entities and Tier 2 for activities.
rings — enhancing consistency,
functionality and flexibility.
International
Olympic
Committee
25 Logo system Olympic Brand Guidelines International Olympic Committee

Tier 1 Primary lockup
Construction and
Isolation area
To maintain legibility, ensure that no elements 1/2 x x 1/2 x 1/2 x
crowd the surrounding space and that they
1/2 x
do not sit uncomfortably close to the edge of
a surface. International
The isolation area that surrounds Tier 1 lockups
Olympic
corresponds to half the height of one ring. Committee
1/2 x
Secondary lockup
1/2 x x 1/2 x 1/2 x

1/2 x
International
Olympic Committee
1/2 x

Construction and
Isolation area (FRENCH)
To maintain legibility, ensure that no elements 1/2 x x 1/2 x 1/2 x
1/2 x
a surface. Comité
The isolation area that surrounds Tier 1 lockups
International
correspond to half the height of one ring. Olympique
1/2 x
Secondary lockup
1/2 x x 1/2 x 1/2 x

1/2 x
Comité International
Olympique
1/2 x

Construction and
Isolation area (bilingual)
Bilingual lockups speak to a wider audience and 1/2 x x 1/2 x 1/2 x 1/2 x
offer a more sustainable option when creating
1/2 x
printed materials. Bilingual lockups are avail-
able available in French first and English first Comité International
arrangements. International Olympic
To maintain legibility, ensure that no elements Olympique Committee
1/2 x
a surface.
Secondary lockup
1/2 x x 1/2 x 1/2 x 1/2 x

1/2 x
Comité International International

Olympique Olympic Committee
1/2 x

Tier 1
Entities
PRIMARY LOCKUPS
IOC Television Olympic Foundation
For ITMS, OBS and OCS, the full entity desig- & Marketing for Culture
nation should always be displayed on any
document or communication piece in addi-
Services and Heritage
tion to the logo: IOC Television & Marketing
Services SA, Olympic Broadcasting Services
SL and Olympic Channel Services SL.
Olympic Fondation Olympique

Broadcasting pour la Culture
Services et le Patrimoine
Olympic
Channel
Services

Tier 1
Flexibility
In professionally designed applications and International
templates, the designation may be separated Olympic Committee
from the Olympic rings to create space for, or
align with, other elements along the grid.
This flexibility reduces visual noise around the

Olympic rings and makes the communication
feel more open — reflecting the personality of
the Olympic brand.
For horizontal applications, the Olympic rings

and IOC deisignation should always share the
same height.
Aside from increasing functionality and ele-

gance, this approach is also rooted in tradition.
For the first century of the modern Games, the
IOC designation appeared as a separate ele-
ment, independent from the Olympic rings.
International
Olympic Lausanne
Committee 12.05.2022
International
Olympic
Committee

Tier 1
Flexibility
International
Olympic
Committee
The rings and designation should lock up with
the grid. There should always be an equal
relationship between the width or height. No
objects such as photos, illustrations or graphics
should enter the space between the rings and
the designation.
International
Olympic
Committee
International
Olympic
Committee
International
Olympic
Committee

Tier 2 Horizontal lockup
Lockups
Tier 2 lockups are for IOC activities, including
products, programmes and events. They are
typeset in Olympic Headline. Examples include
Olympic Day and Olympic Agora. There are
three lockup arrangements for various layout
and composition needs.
Horizontal lockup
The minimum size is defined by the width of the OLYMPIC
Agora
rings: 8mm for print or 50px for digital.
Horizontal one-line lockup

The minimum size is defined by the width of the
Vertical lockup
The minimum size is defined by the width of the
Horizontal one-line lockup Vertical lockup
OLYMPIC Agora OLYMPIC

Agora

Tier 2 Horizontal lockup
Construction and
Isolation area
The construction grid provides a consistent
structure and visual rhythm. To ensure legi- 1/2 x x 1/2 x 1/2 x
bility, no elements may be placed nearby. The
isolation area that surrounds Tier 2 lockups
1/2 x
correspond to half the height of one ring.
OLYMPIC
Agora
1/2 x
Horizontal one-line lockup Vertical lockup
1/2 x 1/2 x
1/2 x
1/2 x x 1/2 x 1/2 x
1/2 x
OLYMPIC Agora
x
1/2 x
OLYMPIC
1/2 x
Agora
1/2 x
Tier 2
Flexibility
In professionally designed applications and
templates, the designation may be separated
OLYMPIC Agora
from the Olympic rings to create space for,
or align with, other elements along the grid.
Key elements such as rings, titles and photos
should most often be locked to an edge
of the grid.
This flexibility reduces visual noise around the

Olympic rings and makes the communication
feel more open — reflecting the personality of
the Olympic brand.
OLYMPIC
AGORA 23.05.2021
Tokyo
Art of the Games

OLYMPIC 23.05.2021
Agora Tokyo

Tier 2
Flexibility
Art of the
OLYMPIC OLYMPIC Games
Agora Agora 23.05.2021
The rings and designation should lock up with
the grid. There should always be an equal
relationship between the width or height. No
objects such as photos, illustrations or graphics
should enter the space between the rings and
the designation.
Art of the
Games
23.05.2021
OLYMPIC
Agora
OLYMPIC Art of the

Games
Art of the
Games
Agora 23.05.2021 23.05.2021

Colourways Colour
All versions of Tier 1 and Tier 2 lockups are only

available in colour, black and white. Typogra-
International
phy should be treated in black or white only.
The full-colour version on white is the pre-
Olympic olympIC
ferred version.
Committee AGORA
Black
International
Olympic
OLYMPIC
Committee AGORA
White
International
Olympic
OLYMPIC
Committee AGORA

guidance Do not create new lockup arrangements. In horizontal lockups, the rings should always be placed before the
designation.
In stacked lockups, the rings should always be on top of the
designation.
It is not permitted to alter the Olympic rings or

lockups in any way. PROGRAMME International
Olympic
name International
Committee
Olympic
Committee
The typography should be black or white only. No other colours Do not use Olympic Headline in the Tier 1 lockups. Tier 1 lockups should always be typeset in Regular;
are permitted. never Medium or Bold.

Olympic Olympic Olympic
Committee Committee Committee
Tier 1 lockups should always use title case never all caps, except for Tier 2 horizontal lockup should be aligned with the rings. The text in Tier 1 stacked lockups should never be on two lines.
special-case acronyms.
INTERNATIONAL
OLYMPIC PROGRAMME
COMMITTEE NAME International
Olympic Committee

Designations and labels Site of the Olympic Games Site of the Youth Olympic Games Host of the Olympic Games
for third parties

Designation files can be downloaded here.
Please refer to the respective guidelines on
designations and labels for guidance on how
to use them.
Sport in the Olympic Programme International Federation recognised by the International Organisation recognised by the International Olympic Committee
Olympic Committee
Event organised with the support of the International With the support of the International Olympic Committee
Olympic Committee

5 TYPOGRAPHY
43 Olympic Headline
45 Olympic Sans
47 Olympic Serif
49 OpenType features
50 Tracking, kerning, leading
51 Paragraph alignment
51 Rags and widows
52 Line length
53 Typography colour
54 Combining typefaces

typography Typography is a key element of our Inspired by sport and Olympic heritage,
brand. It works to maintain consistency, the type system was designed to max-
create clarity and provide equity to imise impact across digital and print
the brand as a global leader in sport. while being easy to read, ownable and
recognisable.
A family of three exclusive typefaces
brings a consistent visual tone to all Each typeface supports over 200 Latin
things Olympic. Olympic Headline for script languages and has designated
short punchy titles, Olympic Sans for non-Latin alternates, as well as a fall-
long titles and body copy, and Olympic back font that should be used only if the
Serif to bring a touch of tradition and Olympic typefaces are not available.
elegance to the system.
42 Typography Olympic Brand Guidelines International Olympic Committee

Olympic Headline
Bold, athletic and proud. Olympic Headline
contains capital letters only.
Olympic Headline was inspired by typography

found throughout Olympic Games history, such
as the Tokyo 1964 and Seoul 1988 emblems.
①EQUESTRIAN
{42,195 KM}
Olympic Headline was designed in 2020 by
Julien Hébert in Montreal, Canada.
Fallback
Impact
Non-Latin alternates
Russian Bebas Neue Bold
Chinese Noto Sans CJK CS Bold
#GYMNASTICS
Korean Noto Sans CJK KR Bold
Japanese Noto Sans CJK JP Bold
Hindi Noto Sans Devanagari
ExtraCondensed Bold
Arabic Noto Sans Arabic
ExtraCondensed Bold
Ali+Zatopek
43 Typography
HI@olympics
Olympic Brand Guidelines International Olympic Committee
Olympic Headline Olympic Headline Regular
Styles and use

Styles
Olympic Headline Regular Highlights of the Olympic
Flame-Lighting Ceremony
Olympic Headline Regular Italic
Olympic Headline Condensed
Olympic Headline Condensed Italic
Olympic Headline Compressed
Olympic Headline Compressed Italic
Use
With looser spacing and wider proportions,
Olympic Headline Regular is the most versatile
style of this family. It may be used for short Olympic Headline Condensed
headlines of 12 words or less.
world record
For extra impact, the condensed and com-
pressed styles can be used for very short titles
of six words or less.
The line-spacing (or leading) of Olympic Head-

line should always be set to extra tight.
Italics should be used only to emphasise certain

words. They should not be applied to a full title
for the sake of style.
Olympic Headline is used sparingly, and only in

headings and text that we want to draw atten-
tion to throughout our digital portfolio. Olympic Olympic Headline Compressed Olympic Headline Condensed Italic
Headline should not be overused as it dimin-
19.38.07 Ancient Games

ishes the typefaces impact.
History of the
Case
Olympic Headline is only available in uppercase.
Variable font
For professional designers, Olympic Headline is
also available as a variable font: a single file that
includes all styles. It allows for variations along
two axes: width and slant. This format allows the
designer to adjust the font to a specific need and
is also useful for digital/interactive animations.

Torch & Flame
Olympic Sans
Clear, classic and Swiss-inspired, Olympic Sans
is our workhorse typeface.
CANOE SPRINT
Olympic Sans is a contemporary interpretation
of Akzidenz-Grotesk, a typeface designed in
1896, the same year that the modern Games
were born. Olympic Sans was designed in 2020
by Fabian Harb in Basel, Switzerland.
#OlympicDay
Fallbacks
Arial Regular
Arial Italic
Arial Bold
Arial Bold Italic
3 July–11 August
Russian Roboto Regular
Chinese Noto Sans CJK CS Regular
Korean Noto Sans CJK KR Regular
Japanese Noto Sans CJK JP Regular
Hindi Noto Sans Devanagari Regular
Arabic Noto Sans Arabic Regular
Burkina Faso
→ 2024 Events
45 Typography
PROGRESS!
Olympic Sans Olympic Sans Bold
Styles and use

The Games of the XXIII Olympiad
Styles
Olympic Sans Regular
Olympic Sans Regular Italic
Olympic Sans Medium Olympic Sans Medium with Latin character support
Olympic Sans Medium Italic

Olympic Sans Bold
Olympic Sans Bold Italic
Use Czechoslovakian gymnast Věra Čáslavská

made her Olympic debut at the 1964 Games
Olympic Sans should be used for most text. It is
the main voice of the Olympic brand.
In most cases, the Regular style should be

used. The other styles allow for greater func-
tionality and more flexibility.
in Tokyo, where she took gold medals in the
Italics should be used only to emphasise certain all-around, the balance beam and the vault.
At the 1965 and 1967 European Championships,
words. Italics should not be applied to a full par-
agraph for the sake of style.
Case
Olympic Sans should be set in sentence case.
All caps may be used very sparingly in specific
she won every women’s gymnastics event.
applications such as table headers and small
labels. The same applies to digital, as it is hard
for users to scan large amounts of capital-
ised text.
Olympic Sans Regular + Regular Italic Olympic Sans Regular
The Los Angeles 1984 Olympic Games, RANK PARTICIPANT RESULT

01 Andre Myhrer 1:38.99
officially known as the Games of the XXIII Sweden
Olympiad, were an international multi-sport 02 Ramon Zenhaeusern 1:39.33
event held from 28 July to 12 August 1984 in Switzerland
Los Angeles, California, United States. This 03 Michael Matt 1:39.66
Austria
was the second time that Los Angeles had
04 Clement Noel 1:39.70
hosted the Games, the first being in 1932. France

Olympic Serif
Traditional, artistic and inspired by our heritage,
Olympic Serif gives the brand a more editorial
look and adds finesse where needed. Larisa Latynina
Coach & Athlete
Olympic Serif is a contemporary interpretation
of Oldstyle Roman type genre, and gives a
subtle nod to the ancient Games. Olympic Serif
was designed in 2020 by Seb McLauchlan in
London, England.
→ Skateboarding
Fallbacks
Georgia Regular
Georgia Italic
Georgia Bold
Georgia Bold Italic
@pyeongchang
Russian Spectral Regular
Chinese Noto Serif CJK CS Regular
Korean Noto Serif CJK KR Regular
Japanese Noto Serif CJK JP Regular
Hindi Noto Serif Devanagari Regular
Arabic Noto Naskh Arabic Reguliar
Empowering you
Opening Ceremony
47 Typography
27:05.64 * Boost
Olympic Serif Olympic Serif Regular + Regular Italic
Styles anD use

Styles
Olympic Serif Regular Olympic Winter Games
Lillehammer 1994
Olympic Serif Regular Italic
Olympic Serif Medium
Olympic Serif Medium Italic
Olympic Serif Bold
Olympic Serif Bold Italic
Use
Olympic Serif should be used as a complement
to the other type families. It is best used as
feature text, such as pull quotes or titles in need Olympic Serif Bold
of extra elegance. In addition, it can be used

for longer text, as it has also been optimised for
Olympic spirit
long reading experiences, but Olympic Sans
should be considered first.
In most cases, the Regular style should be

used. The other styles allow for greater func-
tionality and more flexibility.
Italics should be used only to emphasise cer-

tain words. They should not be applied to a full
paragraph for the sake of style.
In digital we favour Olympic Sans for body copy

over Olympic Serif and maintain the use of Serif
for feature text or pull quotes. Olympic Serif Regular Olympic Serif Medium + Medium Italic
Case
Olympic Serif should be set in sentence case.
All caps may be used very sparingly in spe- Although the Olympic Games took place Johann Olav Koss won four
cific applications such as table headers and during the Bosnian War, the Bosnia and
small labels. Olympic gold medals. For his
Herzegovina four-man bob team consisted
of one Croatian, two Bosnians and a performance, he was named
Olympic Serif has a special small caps char-
acter set available as an OpenType feature, as Serbian – the best possible example of the Sports Illustrated magazine’s
outlined on the following page. Olympic spirit at the worst of times. Sportsman of the Year.

Opentype features Case-sensitive forms
OpenType features are accessible in profes-

sional design software. They allow fonts to
(Arc-en-ciel) (ARC-EN-CIEL) →
behave smartly. This behaviour includes simple

things, such as changing letters to small caps, Small capitals
or complex things like inserting alternates,
ligatures or symbols.
The Olympic type families have unique

OpenType features for advanced typography
The Olympics THE OLYMPICS →
flexibility and behaviour.

Contextual alternates Fractions
1/2 3/4 1/2 3/4

Olympic rings
Type five zeros in between parentheses for the
Olympic rings to appear.
Tabular and proportional numbers

(00000)  →
→
When typesetting numbers in tables or a table

of contents, use tabular numbers. Otherwise, Contextual alternates Slashed zero
6x2-5=7 6x2-5=7 0 0
use proportional numbers.
Superscript
→ →
When typesetting superscripts, use the
OpenType feature to show the optically cor-
rected figures.
Old-style numbers
0123456789 0123456789
Small caps
These should be used for acronyms, like IOC,
→
or for titles that would stand out too much in
all caps, but still need to be delineated from
regular text.
Tabular numbers
0123456789 0123456789 →
Subscript numbers Superscript numbers
CO2 CO₂ →
a2+b2 a²+b² →

Tracking and Kerning The tracking is just right.
In this example, tracking is at 0 units on all text.
The tracking is too tight. The tracking is too loose.
Tracking is the overall spacing between groups

of letters, and kerning is the spacing between WHO WE ARE WHO WE ARE WHO WE ARE
individual letter forms. The tracking of body text
can usually be left as it was designed: 0 units of The International The International The International
tracking.
Olympic Committee Olympic Committee Olympic Committee
The larger the text, the tighter the tracking
should be. A maximum of 15 units of tracking The International Olympic Committee The International Olympic Committee The International Olympic Committee
can be subtracted for very large headlines. (IOC) is a not-for-profit independent (IOC) is a not-for-profit independent (IOC) is a not-for-profit independent
international organisation that is international organisation that is international organisation that is
committed to building a better world committed to building a better world committed to building a better world
For optimal readability, up to 10 units of track-
through sport. Created on 23 June through sport. Created on 23 June through sport. Created on 23 June
ing can be added to very small text, such
1894, just under two years before the 1894, just under two years before the 1894, just under two years before the
as captions. first Olympic Games of the modern first Olympic Games of the modern first Olympic Games of the modern
era in April 1896, the IOC is the supreme era in April 1896, the IOC is the supreme era in April 1896, the IOC is the supreme
Kerning should always be left on the Metrics authority of the Olympic Movement. authority of the Olympic Movement. authority of the Olympic Movement.
option, not Optical.
Leading The leading is just right.

In this example, the title size is 15pt with leading at 16pt, and the
The leading is too tight. The leading is too loose.
body size is 8pt with leading at 10.5pt.
Leading is the spacing between lines of

type. Choosing the appropriate leading or
line spacing is very important to the reading The International The International The International
quality and efficiency of the typography. Olympic Committee Olympic Committee Olympic Committee
The larger the text, the tighter the leading The International Olympic Committee
The International Olympic Committee (IOC) is a not-for-profit independent
should be. The International Olympic Committee
(IOC) is a not-for-profit independent international organisation that is
international organisation that is committed to building a better world (IOC) is a not-for-profit independent
committed to building a better world through sport. Created on 23 June international organisation that is
1894, just under two years before the
through sport. Created on 23 June first Olympic Games of the modern committed to building a better world
1894, just under two years before the era in April 1896, the IOC is the supreme through sport. Created on 23 June
first Olympic Games of the modern authority of the Olympic Movement.
1894, just under two years before the
era in April 1896, the IOC is the supreme
authority of the Olympic Movement. first Olympic Games of the modern
era in April 1896, the IOC is the supreme
authority of the Olympic Movement.

Paragraph alignment Paragraphs as well as most titles should be
left-aligned.
Avoid centre-aligning long paragraphs of text. Never justify paragraphs of text. Never right-align paragraphs of text.
Paragraph alignment refers to how the left and

right edges of a paragraph align on a page.
Flush left creates strong alignment for the eye

to follow, aiding readability and organisation. It Olympism is a philosophy of life, Olympism is a philosophy of life, Olympism is a philosophy of life, Olympism is a philosophy of life,
is our standard for most typography across the exalting and combining in a balanced exalting and combining in a balanced exalting and combining in a balanced exalting and combining in a balanced
whole the qualities of body, will and whole the qualities of body, will and whole the qualities of body, will and whole the qualities of body, will and
Olympic brand because it is functional, modern,
mind. Blending sport with culture and mind. Blending sport with culture and mind. Blending sport with culture and mind. Blending sport with culture and
timeless and the most effective in information education, Olympism seeks to create a education, Olympism seeks to create a education, Olympism seeks to create education, Olympism seeks to create a
design and legibility. way of life based on the joy of effort, way of life based on the joy of effort, a way of life based on the joy of effort, way of life based on the joy of effort,
the educational value of good example, the educational value of good example, the educational value of good example, the educational value of good example,
social responsibility and respect for social responsibility and respect for social responsibility and respect for social responsibility and respect for
universal fundamental ethical principles. universal fundamental ethical principles. universal fundamental ethical principles. universal fundamental ethical principles.
Rags and widows This is a good rag. This is a bad rag. This paragraph is perfectly typeset. Do not leave widows at the end of paragraphs.
A rag is the uneven side of a paragraph – most

often on the right side when text is left-aligned,
as shown here. Always look for opportunities to
improve rags. A good rag is one where the lines
move in and out in small increments. A bad rag Olympism is a philosophy of life, Olympism is a philosophy of life, Olympism is a philosophy of life, Olympism is a philosophy of life,
exalting and combining in a balanced exalting and combining in a balanced exalting and combining in a balanced exalting and combining in a balanced
creates distracting shapes of irregular white
whole the qualities of body, will and whole the qualities of body, will and whole the qualities of body, will and whole the qualities of body, will and
space in the margins where line breaks are mind. Blending sport with culture and mind. Blending sport with culture mind. Blending sport with culture and mind. Blending sport with culture and
varied and inconsistent. education, Olympism seeks to create a and education, Olympism seeks education, Olympism seeks to create a education, Olympism seeks to create a
way of life based on the joy of effort, to create a way of life based on the way of life based on the joy of effort, way of life based on the joy of effort,
A widow is a short line or single word at the the educational value of good example, joy of effort, the educational value of the educational value of good example, the educational value of good example,
social responsibility and respect for good example, social responsibility and social responsibility and respect for social responsibility and respect
end of a paragraph. Watch out for widows and
universal fundamental ethical principles. respect for universal fundamental universal fundamental ethical principles. for universal fundamental ethical
adjust line lengths with a writer to solve awk- ethical principles. principles.
ward breaks which can affect reading quality. In
cases where it is not possible to respect these
rules, hyphenation can also be a good solution.
Only words that are eight letters or longer can
be hyphenated. For more on hyphenation, refer
to the IOC Style Guide.

line length In these two examples, the line length is just right. In these two examples, the line length is too short above and too long below.
For optimal readability, it’s important not to Olympism is a philosophy of life, exalting and Olympism is a based on the joy world by educating
create lines of text that are too long or too short. combining in a balanced whole the qualities of philosophy of found in effort, the youth through sport
body, will and mind. Blending sport with culture life, exalting and educational value of practiced without
Shorter text can fit in narrower boxes, while
and education, Olympism seeks to create a combining in a good example and discrimination of
longer reading demands longer lines. way of life based on the joy found in effort, the balanced whole the respect for universal any kind and in the
educational value of good example and respect qualities of body, will fundamental ethical Olympic spirit, which
For long text, there should be between 40 for universal fundamental ethical principles. and mind. Blending principles.The goal requires mutual
and 70 characters per line. For shorter text, sport with culture of the Olympic understanding with
there should be between 30 and 50 charac- and education, Movement is to a spirit of friendship,
ters per line. Olympism seeks to contribute to building solidarity and fair
Olympic House is a privately funded investment by the IOC in
create a way of life a peaceful and better play.
sustainability, operational efficiency and the local economy and
These rules do not apply to titles. local development. The estimated construction costs amount
to CHF 145 million. Eighty per cent of the construction costs of Olympic House is a privately funded investment by the IOC in sustainability, operational efficiency
Olympic House have gone to local companies and contributed to and the local economy and local development. The estimated construction costs amount to
the development of local competencies. This investment will secure CHF 145 million. Eighty per cent of the construction costs of Olympic House have gone to local
companies and contributed to the development of local competencies. This investment will
an asset owned with an increase in value for the IOC instead of cash secure an asset owned with an increase in value for the IOC instead of cash out for rent higher
out for rent higher than the value of the building over 50 years. than the value of the building over 50 years.
Emphasis This is just the right amount of emphasis. This is far too much emphasis.
When emphasising words, always keep styles

to a minimum to avoid interrupting the reader
and adding noise. Refrain from using multiple
styles to do the same thing in typography. Avoid
using colour to emphasise words in body text, The International Hockey Federation (FIH) The International Hockey Federation (FIH)
and never mix multiple colours. organised a week-long celebration of organised a week-long celebration of
International Women’s Day. A number of International Women’s Day. A number of
Emphasis should be used sparingly. Trying to stories were published on the FIH website, stories were published on the FIH website,
bring attention to too many elements in a text highlighting the numerous activities by highlighting the numerous activities by
makes it more complicated. the FIH, its continental federations and the FIH, its continental federations and
national associations to promote the role of national associations to promote the role
Underlining should be reserved for hyperlinks women on and off the hockey pitch. of women on and off the hockey pitch.
and should not be used to place emphasis on a
word or sentence.

Typography Colour Body text should be black or white. Headlines should be black or white in
most instances.
Headlines may be an Olympic or medal colour
on a white background, with exception to digital
Use white or black typography on photos.
pages where they are either white or black on a

white or black background.
Most typography should be black or white.

Tints of Olympic black from the extended
UNITY
palette may be used where additional hierarchy
is required.
Gender
Equality
2024 OLYMPIC
IOC Refugee WINTER GAMES
Headlines should appear in black or white in
most cases, but may appear in an Olympic or
Sport is one of the most powerful platforms for
promoting gender equality and empowering
women and girls. As the leader of the Olympic
Olympic Team 2030
Movement, the IOC is taking continuous action
medal colour on a white background. Body to advance gender equality.
copy and other text should not use colour. Great progress has been made in terms of
balancing the total number of athletes partic-
ipating at the Games; however, many other
challenges and gaps remain. The IOC is work-
ing to address these inequalities through lead- At the UN General Assembly in October 2015, Olympic hosts can create powerful economic
Do not use colour typography on photos. ership development, advocacy and awareness confronted with the global refugee crisis that legacies. They include macro-economic indices
campaigns, and by appointing more women to has seen an estimated 65.3 million people in the such as increases in national GDP – USD 16.8 bil-
leadership roles within the administration and world displaced, IOC President Thomas Bach lion for the London 2012 Games, 9.5 billion for
key governance positions. announced the creation of the Refugee Olympic Sochi 2014 and 9.6 billion for Rio 2016. Econom-
Colour is used in digital typography to high- Team to take part in the Olympic Games Rio 2016.
Ten months on from the announcement, 10 ath-
ic impact can also be measured in heightened
global visibility and esteem, increases in tourism,
light interactivity for instance, applying blue letes were competing alongside 11,000 fellow and the creation of new skills and new jobs.
to hyperlinks. To avoid confusion, colour is not

applied to other forms of typography for web
and mobile.
Body text should never be in colour. Do not use multiple vibrant colours in Do not combine colour text with colour Do not use colour typography on photos.
close proximity. backgrounds.
Gender
Equality
2024
IOC Refugee
OLYMPIC
WINTER GAMES UNITY
Sport is one of the most powerful platforms for
promoting gender equality and empowering
women and girls. As the leader of the Olympic
Olympic Team 2030
Movement, the IOC is taking continuous action
to advance gender equality.
Great progress has been made in terms of

balancing the total number of athletes partic-
ipating at the Games; however, many other
challenges and gaps remain. The IOC is work-
ing to address these inequalities through lead- At the UN General Assembly in October 2015, Olympic hosts can create powerful economic
ership development, advocacy and awareness confronted with the global refugee crisis that legacies. They include macro-economic indices
campaigns, and by appointing more women to has seen an estimated 65.3 million people in the such as increases in national GDP – USD 16.8 bil-
leadership roles within the administration and world displaced, IOC President Thomas Bach lion for the London 2012 Games, 9.5 billion for
key governance positions. announced the creation of the Refugee Olympic Sochi 2014 and 9.6 billion for Rio 2016. Econom-
Team to take part in the Olympic Games Rio 2016. ic impact can also be measured in heightened
Ten months on from the announcement, 10 ath- global visibility and esteem, increases in tourism,
letes were competing alongside 11,000 fellow and the creation of new skills and new jobs.

Combining typefaces Classic Standard Dynamic
The typefaces may be combined in a variety

of ways for different communication purposes.
Section Titles
Section Section Section

Section titles should always be typeset in
Olympic Headline, usually in its Regular weight,
which should have 12 words or less. For very
impactful section titles, Olympic Headline
Condensed may be used for large titles of six
words or less. title title title
Headline
Titles may be set in any of the three type
families. Olympic Headline Regular may be
used for short titles of 12 words or less. For
longer titles, Olympic Sans or Olympic Serif are
great choices. The medium and bold weights
are recommended.
This is the This is the This is a very
Headline Headline short Headline
Choose the most appropriate typeface to
match the tone of your headline. For example,
if making a bold statement, maybe Olympic This is the Kicker paragraph. This is the Kicker paragraph. This is the Kicker paragraph.
Headline would be more impactful. For a It sets the tone of the article and It sets the tone of the article and It sets the tone of the article and
more editorial or classic tone, Olympic Serif’s briefly describes what you can briefly describes what you can briefly describes what you can
elegance is more suitable. expect from the rest of the page. expect from the rest of the page. expect from the rest of the page.
Kicker and Pull quotes
These should be typeset larger than body text,
and smaller than headlines. Olympic Serif is Subhead Subhead Subhead
the perfect candidate for these uses as its details Body text is the most common element Body text is the most common element Body text is the most common element
are magnified in larger uses. of a document, forming it’s main content. of a document, forming it’s main content. of a document, forming it’s main content.
Therefore, how the body text looks will Therefore, how the body text looks will Therefore, how the body text looks will
Subhead have the most noticeable effect on the have the most noticeable effect on the have the most noticeable effect on the
These may be set in any of the three type fami- appearance of a document. The only font appearance of a document. The only font appearance of a document. The only font
lies. Subheads with more than 12 words should that should be used for body copy is that should be used for body copy is that should be used for body copy is
not use Olympic Headline. They should either Olympic Sans Regular. Our Small Text size Olympic Sans Regular. Our Small Text size Olympic Sans Regular. Our Small Text size
be the same size as body text or slightly larger. of 9 points is perfect for most body text. of 9 points is perfect for most body text. of 9 points is perfect for most body text.
Body, Running Head, Folio and Caption

These elements should be set in Olympic Sans This small size of text This small size of text This small size of text
in all instances. should be used for should be used for should be used for
Image captions, folio, Image captions, folio, Image captions, folio,
and running head and running head and running head

Combining typefaces
Example
olympic house
International
Olympic House Activities & Services 8
Olympic
Tokyo
Committee
activities & services
Suitable for medium to large

groups with advanced audio
and visual presentations.
Room capacity
36 people
Audiovisual services
• 3 screens
• 3 projectors (Full HD)
• 2 laptops Computers
• Swisscom WIFI, 20 MB
• Panasonic video mixer
x cm
• Panasonic remote camera
• Panasonic full HD robotic
cameras
• Wireless handheld mics
• Headsets for translation
• 2 interpreters ‘booths
• Require the presence of our
technician in the technical x cm
booth
Olympic House Activities & Services 4
Facilities
36 people
12 people
12 people
8 people
The conference centre of the
Olympic House is located on the Château
ground floor. It has a large modular de Vidy
meeting room the Stadium fully ←
equipped for meetings and confer-
ences and able to welcome up to
250 people, depending on the layout.
All rooms have access to daylight
through skylights.
56 to
The conference centre has 4 addi- 264 people
tional meeting rooms not modular
located on north side. Rooms are
named after upcoming editions of
the Olympic Games:
Fixed meeting rooms
Tokyo ................................................36 people

Beijing .............................................. 12 people
Paris ................................................... 12 people
Milano Cortina........................... 8 people
Multifunctional centre,
55 Typography modular rooms
Stadium..................................... 264 people

Combining typefaces
Example in digital

6 GRAPHIC DEVICES
58 Field of play
59 Field of play cropping
60 Sport lines
61 Combining graphics
62 Guidance
64 Modifying
65 Applications

sport Lines
From swimming pools to athletics tracks,
halfpipes to curling rinks, these simple lines
offer a decorative complement to field of play
graphics. Like many elements of the visual
identity, they feel sporty and playful. Used in
monochrome (one Olympic colour), they help
offset the multi-coloured field of play graphics
while offering another visual tool.
Sport lines may be applied in any primary

Olympic colour.
61 Graphic devices Olympic Brand Guidelines International Olympic Committee

combining graphics
By combining the field of play graphics, sport
lines and colour blocks, the visual volume can
be adjusted throughout all applications. This
modular approach allows a lot of flexibility.
Colour blocks should always be filled with core

Olympic colours and are useful to create space
for branding or content.
Remember to keep a lot of white in your com- Field of play Sport lines Colour block
positions, and always try to create alignment
between the different graphic devices and
typography.
Photographs (Chapter 7) and illustrations

(Chapter 8) may also be combined in arrange-
ments with graphic devices.
OLYMPIC
International
Olympic
Committee
LEGACY Olympic legacy includes the

long-term benefits of the
Olympic Games that serve
the host city, its people and
the Olympic Movement
before, during and long after
the Olympic Games. Find
out more about our strategic
approach to Olympic legacy.

Guidance These compositions are properly cropped. These compositions are properly aligned.
When cropping and assembling field of play

elements together, crop along shapes and
colour blocks within the artwork to create
a consistent visual rhythm. Alignment will
strengthen and simplify the compositions.
Field of play artwork can be rotated in 90°

increments only.
These crops do not use the shapes of the artwork. These compositions are misaligned.

Guidance Correct distribution of graphic devices.
When arranging graphic devices, do not place

two of the same type of graphic device next to
each other.
Do not place the same types of graphic devices next to each other.

MODIFYING Colours may be modified to allow space for the Olympic rings or text. In this case, the graphic colours have been modified to provide space for two columns of text.
Basic modifications to field of play graphics are

permitted to make allowances for the Olympic Olympic legacy includes the
Olympic legacy includes the
Olympic Games that serve Olympic Games that serve
rings or typography. Do not add new elements the host city, its people and
the host city, its people,
and the Olympic Movement
or shapes within shapes. White should always

before, during and long after before, during and long after
the Olympic Games. Find the Olympic Games. Find
out more about our strategic out more about our strategic
be included in the composition. Always main- approach to Olympic legacy approach to Olympic legacy
tain the integrity of the artwork.
If including the Olympic rings in a composition,

ensure they are applied to permitted back-
ground colours only.
Do not add new graphics or shapes. When adding the Olympic rings or text to graphics, ensure there is ample space surrounding each element.

the host city, its people and
approach to Olympic legacy.
the host city, its people,
and the Olympic Movement
approach to Olympic legacy

Applications
When applying graphics, a generous use of
either white or black helps ground the vibrant
graphics and Olympic colours. The develop-
ment of such products must be submitted to
the IOC for approval.
When using graphic devices on digital inter-

faces, use them sparingly. As these elements
are bright and bold, avoid combining with
smaller components such as cards that fea-
ture frequently across the website, so they
don’t lose their integrity impact or detract from
the content.

7 PHOTOGRAPHY
69 Representing diversity
70 Style
71 Action
72 Emotion
73 Heritage
74 Editorial
75 Photography in digital application
76 Adding elements
77 Post-processing

Olympic photography Olympic photography is like Olympic Games and the daily efforts and impact
sprinting. In both pursuits, success and of the entire Olympic Movement.
failure can be separated by hundredths
of a second. But Olympic stories are By curating photographs, we build on
about more than a moment, more than the athlete journey and express how
sport. They are about the journey; the it feels when the world comes together
lifestyle; the spectacle of the Olympic to celebrate.
68 Photography Olympic Brand Guidelines International Olympic Committee

representing diversity
The Games feature sports, Olympians and fans
from around the globe. The way we use images
reflects this diversity.
Always choose images that respectfully portray

individuals, and that do not reinforce stereo-
types or use objectifying or sexualised imagery.
For further guidance, please refer to the
IOC Portrayal Guidelines for gender equal, fair
and inclusive representation in sport.
When making selections, it is important not

only to choose photos that have an aesthetic
composition, but also to make sure to balance
these four categories, especially if selecting
multiple images:
Sport
Balance summer and winter sports, as well as
individual and team sports.
Countries
Represent countries from each continent
where possible.
Gender
The ratio of men and women should be equal
whenever possible.
Ethnicity
Balance people of diverse backgrounds and
ethnicities.

Style
Composition
Be bold and striking. Highlight the subject and
the action by keeping composition simple.
Select photos that incorporate negative space
to invite the eye to the main focus.
Angle
Mixing wide and close-up shots in layout builds
visual interest and hierarchy. Straight, head-on
shots as well as bird’s-eye view can also create
a clean and graphic sensibility.
Colour
Images should have deep blacks and crisp
highlights, while holding shape and detail, never
blown out. They should hold an edge if placed
on white. Colour should feel natural and vibrant,
not over-saturated. Images should look natu-
rally white balanced, not stylised. Avoid colour
effects and photo filters.
Themes
There are four main themes of Olympic images.
Depending on the application, sometimes it
will be best to balance all themes; other times
it will be more useful to focus on one. The
themes are:
• Action
• Emotion
• Heritage
• Editorial

Action
Strength, finesse and agility are part of the
excitement of the Games. Striking athletic
expression can be found in both the athlete’s
body and face. Use artful images where the
focus might not be on the athlete, but on move-
ment itself.

Emotion
The Games move us. Our photography should
do the same. Athletes helping each other,
united in teams or celebrating victory are all
good examples of moving moments that reflect
the Olympic values.

Heritage
The Olympics have a rich history of inspiring
achievements and iconic moments. Use historic
photographs as an educational tool to teach
and inspire future generations, or simply as a
vector for emotion. Showcase historic per-
formances and ceremonies and embrace the
vintage feel of these images.

Editorial
Editorial photography illustrates a story through
images. And the stories beyond the Games
show how the Olympic brand is relevant year-
round. Photography can provide a window into
the activities of athletes, Olympic Partners and
the IOC, including social development initia-
tives supported by the organisation.
Athlete lifestyle photography should always

feel candid and reflect the unique aspects of
the athlete and sport. Whether lifting weights at
the gym, training along the street in their home
town or listening to music before a competition
— athletes should be set in their environment.

photography in digital Ensure hero images are not too busy to distract from headline titles. Favour central focused imagery. Due to legibility, typography and digital elements such as tags and
social icons are placed ontop of a gradient.
application
When selecting images for digital use, be cog-
niscent of text placement and favour centrally
focused images. In most instances, the top and
bottom of the image will be where copy and
metadata may be placed.
Accommodate for responsive screen sizes

which may alter the aspect or crop of an
image too, centrally weighted images will
have the most likelihood of not being affected
adversely by this.
Do not use images with a focal point that is covered by text. Do not add any styling or effects to typography on top of photos. Do not place low contrast text ontop of photography

Adding elements Text and rings can appear on photographs as long as there is
enough contrast for legibility.
Typography within templates can be rearranged to best
accommodate a photograph.
If legibility is a concern, typography can always be placed on a
white background.
When adding branding and typography on top

of a photograph, select images with lots of
space and low visual noise. Future Host Future Host Future Host
Questionnaire Questionnaire Questionnaire
If a busy photograph is important to the

communication, use a layout that features the
branding and typography in a separate location YOUR YOUR
rather than on top of the photograph. VISION VISION
FOR FOR
For more guidance, refer to the Still Images THE THE
Guidelines. OLYMPIC YOUR VISION OLYMPIC
WINTER FOR THE OLYMPIC WINTER
GAMES WINTER GAMES GAMES
Do not place text on top of busy photographs. Do not add any styling or effects to typography on top of photos. Do not place text on top of busy photographs.
Future Host
Questionnaire
YOUR YOUR YOUR

VISION VISION VISION
FOR FOR FOR
THE THE THE
OLYMPIC OLYMPIC OLYMPIC
WINTER WINTER WINTER
GAMES GAMES GAMES

POST-PROCESSING Original photograph Original photograph Original photograph
As a general rule, do not over process pho-

tographs. Olympic photography should feel
people-centric, and any styling or effects
that make photos feel supernatural is not
encouraged.
Adding saturation and vibrance can give a

photo more energy, but adding too much makes
it unrealistic. Coverting to black and white
can add a dramatic effect, while darkening an
image, or part of an image, can help the photo
interact with other elements such as logos and
typography.
For more guidance, refer to the Still Images

Guidelines.
Vibrance + saturation Black and white Corner of image darkened to increase visibility of rings.

POST-PROCESSING Original photograph Original photograph Original photograph
As a general rule, do not over process pho-

tographs. Olympic photography should feel
people-centric, and any styling or effects
that make photos feel supernatural is not
encouraged.
Adding saturation and vibrance can give a

photo more energy, but adding too much makes
it unrealistic. Coverting to black and white
can add a dramatic effect, while darkening an
image, or part of an image, can help the photo
interact with other elements such as logos and
typography.
For more guidance, refer to the Still Images

Guidelines.
Do not add unnatural styling or effects. Do not add artificial colouring. Do not blend images or create supernatural environments.

8 ILLUSTRATIONS
79 Concept
80 Style and colour
81 Illustration types
82 Combining illustration types
83 Illustration types guidance
85 Illustration index
86 Cropping
87 Applications
88 Guidance

Illustrations Illustrations are used to express an idea Art and creativity have played a big role
or message in an engaging way. They in Olympic history. From 1912 to 1948,
help tell the Olympic story, especially art competitions were held alongside
themes that are difficult to express with sport – with Olympic medals awarded to
words. Unlike photography, illustrations architects, poets and artists. Today, illus-
can communicate without singling out a tration helps communicate and connect
specific time, place or person. in new ways.
80 Illustrations Olympic Brand Guidelines International Olympic Committee

Concept
Illustrations help tell a story and connect to
Olympic ideas, old and new. They express
themes, values and symbols associated with
the Olympic brand.
When developing Olympic illustrations,

always consider the concept and look for the
most direct way to make the audience under-
stand what you want them to feel and know.
Avoid reinforcing stereotypes and, whenever
possible, balance sport, countries, gender
and ethnicity.

Style and Colour
Olympic illustration should be striking and
impactful in its approach. Styles vary from
geometric to hand drawn, simple to detailed.
No matter the aesthetic complexity, illustrations
should be clear – with the fewest unnecessary
colours, shapes and lines to communicate
effectively.
Colour plays an essential role in making illus-

trations feel Olympic. Use Olympic colours
together in a single illustration or individually
to bring more visual focus – especially when
developing a series of illustrations.
Use extended colours to add accents, high-

lights and shadow. Never use extended colours
in large areas – Olympic colours or medal
colours should always be the most visually
prominent.
Avoid gradients or overt effects in most cir-

cumstances. Olympic colours tend to be most
powerful when pure.
The 17 illustrations shown in the following

pages are strong examples of impactful
Olympic illustrations. The style of these illus-
trations is not intended to be replicated or
imitated. They should instead provide a guiding
foundation for the overall approach to Olympic
colour, simple lines/shapes and bold ideas
when developing additional illustrations.

ILLUSTRATION TYPES Display illustration (book cover) Spot illustration (sidebar)
International
Olympic
Committee
Olympic illustrations can be used in a variety

of applications and sizes, from large display ENVIRONMENTAL OLYMPIC FOREST
illustrations to small spot illustrations. When
developing an illustration, consider the context
INITIATIVES INITIATIVE
of how it will be used and develop a solution CO2 CO2
with the appropriate complexity. An illustration CO2 CO2 CO2
on the cover of a book will need to reflect the CO2 CO2 CO2 CO2 CO2
CO2
broad concept of the entire publication, while CO2
an illustration within its pages can represent a

more specific idea drawn from the text. On this
page, the three different types of illustrations
and their uses are outlined.
The first type are display illustrations. These are

the largest and are reserved for large formats
and prominent places where the detail and
colour can be fully appreciated.
The second type are spot illustrations, which

are typically smaller and less detailed. They can
also be close-cropped and have no background
Spot illustration (infographic) Supporting icons (sidebar)
colour. These are often used within complex
layouts next to supporting text. Spot illustra-
tions can also be added to infographics to make
complex data more engaging. For guidance,
refer to Chapter 10: Infographics.
OLYMPIC FOREST IS EXPECTED OLYMPIC FOREST
The third type are supporting icons, which are TO ABSORB 200,000 T CO2 BENEFITS
typically even smaller and less detailed. Icons
are small and efficient at communicating, and
when used almost like bullet points they can
provide a visual cue and make text call-outs 16%
more striking and digestible.
30%
CO2 14%
FOOD SECURITY
22%
18% $ ECONOMIC SECURITY
CLIMATE ADAPTATION

COMBINING Combining illustration types on a single page layout
ILLUSTRATION TYPES
The three different kinds of illustrations can

also be used in combination with each other to
OLYMPIC FOREST
International
Olympic
create complex and engaging layouts, but care Committee
should be taken to use the correct type of illus-
tration for the context you’re working with.
INITIATIVE
An example is presented here that shows the
best way of combining illustrations to create
an effective layout. The information is clearly
presented and a well defined hierarchy helps
the reader easily navigate the large amount of OLYMPIC FOREST IS EXPECTED
information. In addition to the clear hierarchy,
a consistent colour palette and illustration
TO ABSORB 200,000 T CO2
style has been used to ensure a harmonious
page layout. CO2 CO2
CO2 CO2 CO2
A — A spot illustration is used here to anchor CO2 CO2 CO2 CO2
the beginning of the text and communicates the CO2
CO2
central idea of the following content. A

CO2
355,000 TREES / 2,120 HECTARES
B — A series of icons is used here as bullet
points to draw the readers eye to the important 16% 175,000 TREES
points that have been highlighted in the text. 1400 HA
30% AGROFORESTRY FARMLAND
C — A small spot illustration has been added to CO2 14% C
a doughnut-style chart to create an infographic. 180,000 TREES
720 HA
This connects the chart with the other illustra-
18%
tion at the beginning of the page and continues 22% FOR FOREST ENRICHMENT
AND RESTORATION
the theme through all of the visual elements. It
is noticeably less complex than the spot illus-
tration at the beginning of the page as space
is limited in the infographic and it could easily
overwhelm the information.
FOOD SECURITY
B $ ECONOMIC SECURITY
CLIMATE ADAPTATION

Illustration index Seventeen illustrations have been created for
use across publications, digital, environment
design and more.
Together High Aspirations Synchronised Olympic Torchbearer Olympic Torchbearer Celebrate Humanity
by Francesco Ciccolella by Francesco Ciccolella by Francesco Ciccolella by Francesco Ciccolella by Francesco Ciccolella by Francesco Ciccolella
Themes: unity, solidarity, teamwork, Themes: sport, achievement, inspiration, Themes: unity, teamwork, solidarity, Themes: optimism, hope, peace Themes: optimism, hope, peace Themes: celebration, solidarity,
togetherness, friendship, sport measuring human potential togetherness, sport Versions: red, blue, green and yellow Versions: red, blue, green and yellow achievement, unity, togetherness
Versions: blue and green Versions: red, blue, green and yellow Versions: blue and green
Olympic Dove Olympic Dove Globe Skater Hands Flame

by Karan Singh by Karan Singh by Karan Singh by Karan Singh by Karan Singh by Karan Singh
Themes: peace, hope Themes: peace, hope Themes: togetherness, unity, peace, hope Themes: progress, innovation, sport Themes: unity in diversity, peace, hope, Themes: peace, hope, solidarity
teamwork, solidarity
Olympic Fans Rock Climbing Relay Summer Collage Winter Collage

by Abbey Lossing by Abbey Lossing by Abbey Lossing by Abbey Lossing by Abbey Lossing
Themes: uniting the world, togetherness, Themes: progress, innovation, sport, Themes: athleticism, teamwork, sport Themes: achievement, performance, Themes: achievement, performance,
celebration, solidarity equality excellence, unity in diversity, sport excellence, unity in diversity, sport

Guidance Do not modify colour. Use only the illustrations and corresponding colour versions which exist. Do not abstractly crop the artwork or add additional elements or text.
Always honour the intention of the artwork

and concept when applying.
peace
Do not rotate or alter the original intention of the concept. Do not combine multiple illustrations.

Pictogram Colour Pictograms should be black or white in most instances. In certain cases where colour provides particular functional or
aesthetic benefit, pictograms may be filled with an Olympic or medal
Use white or black pictograms on photos.
colour on a white background only.
Pictograms should be black or white in most
Golf
instances. In specific cases where the use of
colour provides particular functional or aes-
thetic benefit, pictograms may be filled with an
Olympic or medal colour when appearing on a
white background only.
When placing pictograms on a photograph, Sliding Centre ←

ensure legibility is maintained. Do not use
colour pictograms on photos.
Olympic Park → A very simple sport, golf Golf is undoubtedly one of practised beforehand un-
consists of "playing a ball the oldest existing codified der the name “colf” or “kol-
with a club from the teeing sports. Indeed, it was in ven” in the Netherlands,
ground into the hole by the city of St. Andrews in and arrived on the British
Ski Jumping ←
a stroke or successive Scotland that the first rules Isles in the 15th century.
strokes in accordance with were established in 1754.
the Rules." That’s the first But some research shows
rule in the Rules of Golf. that a similar sport was
Do not use multiple pictogram versions or colours in a single layout. Do not combine colour pictograms with colour backgrounds. Do not use colour pictograms on photos.
Sliding Centre ←
Golf
Olympic Park →
A very simple sport, golf Golf is undoubtedly one of practised beforehand un-
consists of "playing a ball the oldest existing codified der the name “colf” or “kol-
with a club from the teeing sports. Indeed, it was in ven” in the Netherlands,
ground into the hole by the city of St. Andrews in and arrived on the British
Ski Jumping ←
a stroke or successive Scotland that the first rules Isles in the 15th century.
strokes in accordance with were established in 1754.
the Rules." That’s the first But some research shows
rule in the Rules of Golf. that a similar sport was
101 Pictograms Olympic Brand Guidelines International Olympic Committee

10 INFOGRAPHICS
108 Highlighting data
109 Part-to-whole charts
110 Comparison charts
111 Infographics examples
112 Infographics with icons
113 Infographics guidance
115 Maps

Highlighting data Number (single)
Highlights a number
Simple table
Compares, ranks or displays multiple piece of data
1.8m
There are many ways to express data without
the use of complex graphics. Highlighting key
figures with the Olympic Headline typeface or
presenting them in tables offers a very readable
Lorem Ipsum ABC
and elegant way to format dense data.
Dollor Sit DEF
Amet Callebum GHI
Ipsum Dollor JKL
Sit Amet MNO
Complex table
Compares, ranks or displays multiple pieces of data
table Title Example of information
Example of data Competition Venues
Venue Venue Name of Name Seating Standing Total Temporary Legacy Current Post- Games-time warm-up capacity
number name zone of cluster bowl area gross seating seating use Games (if required)
(if applicable) capacity capacity capacity capacity capacity use
Number of Brief
fields of play description
Biathlon Biathlon
Bobsleigh Bobsleigh
Skeleton
Luge Luge
Curling Curling
Ice Hockey Ice Hockey
Skating Short Track
Figure Skating
Speed Skating
Alpine Skiing Downhill
Super-G
Giant Slalom
Slalom
Alpine Combined
National Team Event
108 Infographics Olympic Brand Guidelines International Olympic Committee

Part-to-Whole Pie
Expresses portions of a whole.
Doughnut
Expresses portions of a whole while highlighting the overall data.
charts
Part-to-whole charts show how partial
elements add up to a total.
ABC
Sunburst Grader
Compares variations between multiple pieces of data in proportion to the whole. Expresses multiple points of data in proportion to the whole.
ABC
def
ghi
jkl

comparison Grouped bar
Each group compares multiple data points.
Stacked bar
Each stack compares two data points.
Stacked area
Expresses and compares data variation.
charts
Comparison charts compare data between
multiple distinct categories.
Bar Lines Bubbles

Compares, ranks or highlights variations. Compares, ranks or highlights variations. Expresses size difference in data.
MNO
JKL
GHI
DEF
ABC
ABC DEF GHI

Infographics Doughnut Doughnut Sunburst
examples
Revenue distribution
National Olympic
Committees Around
the World
$5bn
206
$2.5bn (50%) $0.6bn (12%)

Olympic Games Youth Olympic Games
Additional athlete
Africa Asia Oceania programmes 65% 10%
54 44 17 $1.9bn (38%) Fully implemented Strategic framework
International Federations Protecting clean athletes
in progress
National Olympic Promoting Olympism
Europe Americas 25%
Committees in society
50 41 Foundations in place
Olympic Solidarity
programmes Numbers in USD
Bubbles Pie
IOC SUPPORT TO IFs OLYMPIC SOLIDARITY PLAN

2017-2020
World Programmes
USD 210,353,000
Continental Programmes
33 7 36 5 USD 222,050,000
IOC Subsidies
for Participation
USD 50,000,000
Administration
USD 20,200,000
Olympic Olympic IOC-Recognised IFs IOC-Recognised

Technical Support
Summer IFs Winter IFs incl. 7 provisional IF Associations Services
incl. 1 provisional USD 6,500,000

Infographics Icons + statistics
WITH ICONS
Icons, such as those presented in Chapter 8,
and spot illustrations may be used to highlight
information or data. The theme of the artwork
should correspond to the data.
A spot illustration is an illustration used by itself,

usually to accompany text, but not as large as a
feature illustration. When developing spot illus-
trations, look for the most direct way to make
the audience understand what you want them
60% 48% 193 204M
Reduction in water usage Female participation at the Nations signed the People participated in the
to feel and know. Spot illustrations should be at Olympic House Games, the highest ever Olympic Truce in 2012 2012 Cultural Olympiad
clear — with the fewest unnecessary colours,
shapes and lines to communicate effectively.
Olympic colours or medal colours should
always be the most visually prominent.
Bar Stacked bar
IOC CONTRIBUTIONS TO THE IOC CONTRIBUTIONS

OLYMPIC WINTER GAMES Numbers in USD
Numbers in USD
$887M $887M
$833M $833M
$775M $775M
$552M $561M $561M

$552M
$215M
$209M
$199M
$128M
$92M
Salt Lake City Turin Vancouver Sochi PyeongChang

2002 2006 2010 2014 2018
Salt Lake City Turin Vancouver Sochi PyeongChang Support to the Support to the
2002 2006 2010 2014 2018
Olympic Games International Federations

INFOGRAPHICS Use multiple shades of a same colour.
Use coloured dots to link the data to a chart.
Use Olympic Headline when highlighting numbers.
Guidance
5.2 5.7
3.9
National Olympic
Committees Around
the World
206
3.0
2005-2008
2001-2004
2009-2012
2013-2016
 Africa
54  Asia
44  Oceania
17
 Europe
50  Americas
41
Avoid using multiple Olympic colours in a single chart. Avoid using Olympic Sans to highlight numbers.
Avoid putting data on top of the chart. Avoid using multiple Olympic colours to highlight numbers.
5.7
Africa Asia
5.2
3.9
54 44
3.0
National Olympic
Committees Around
the World
206
Americas
41
Europe
50
Oceania
17
2005-2008
2001-2004
2009-2012
2013-2016
11 COMPOSITION
118 Grids and formats
119 Digital grids and formats
120 Rings and alignment
121 Fine lines
122 A4 portrait layouts
123 A4 landscape layouts
124 Display layouts
125 Digital layouts
126 Spacing in digital
127 Layering digital components

Composition The composition system helps profes- the system stays flexible and easy to
sional designers create elegant and apply — and a bold use of space allows
sustainable design across all touch- for inviting forms of expression, in line
points. By using simple, structured with the personality of the Olympic
grids and utilising design templates, brand.
lorem
Labo arcipsa ndeleni millaborum labo.
Es as qui optatqui voluptatiur aliquam,
odissimus, si voloribus dit dunte
magnihicati is ut dolores que natur
ipsum autemporepra doluptatem exerite quo

maiorepudi omniscid minis sitae lit,
experum volupta quae sum sit aute ne
DOLORSIT
dessi ulliqui volorecatur, et, ommolori
acestiusae porporror aliti doluptatisto
werertte oekrt.
117 Composition Olympic Brand Guidelines International Olympic Committee

grids and Formats
A4 portrait 12-column grid A4 Landcape 12-column grid
210 x 297 mm 7 mm margins 297 x 210 mm 7 mm margins
5.5 mm gutters 5.5 mm gutters
Grids help maintain an underlying structure and
elegant ratios. They are an essential aspect of
Olympic design. The following underlying grids
should be used for all communications.
For further guidance and template files, please

refer to the IOC Publication Guidelines.
Margins
In most applications, the margin should be
equal on all four sides. Printed double-page
spreads are an exception where extra margin
space is needed in the middle of the document
to ensure good readability.
Tight margins are part of the Olympic brand.

In-house printers for documents such as sta-
tionery may need slightly larger margins.
On digital interfaces, margins are only equal on

left and right sides with no margins at the top
and bottom of the page. See grids and formats
in digital section for more details.
Instagram post 4-column grid Presentation document 12-column grid
Columns/Column gutter 1080 x 1080 px 70 px margins 1920 x 1080 px 35 px margins
70 px gutters 35 px gutters
For each page, create a set number of columns.
For complex layouts, 12 columns is a good
starting point as it can be divided by 2, 3 and 4.
Depending on the format, these numbers may
need to be adjusted.
The column gutter is the space between

columns. For standard A4 documents, 5.5mm
gutters are optimal. For digital layouts, such as
presentation documents or social media publi-
cations, slightly larger gutters will be needed to
ensure a comfortable reading experience.

digital grids and formats
Extra Large 12-column grid Small 4-column grid
1600 px wide 104 px margins 375 px wide 16 px margins
Digital interfaces are designed to a 8px grid, 24 px gutters 16 px gutters
designing to multiples of 8. This applies within
components as well as the overall page.
We design for and accomodate 4 page sizes

for digital.
Margins are only applied to the left and right of

the page, not the top and bottom.
Large 12-column grid Medium 6-column grid

1025 px wide 24 px margins 577 px wide 32 px margins
24 px gutters 24 px gutters

rings and alignment
Just like in the logo system, the size of the

rings will impact the size of typography in all
Title of
Olympic layouts. The size of the rings should
align with text line heights — most often one,
two or three lines of type.
the document
On digital interfaces, the logo should centrally
align with the navigation element rather than
the text height.
The
Auxiliary text
goes here
Tagline
Fine lines
23
Games
Lines are used to organise information and
subdivide layouts. They reinforce the grid and
are an essential part of the Olympic brand.
Experience
They can be placed vertically or horizontally
and should be contained within the grid.
They should never extend past the margins
of a layout.
Vision,
Size
Most commonly used at 0.3pt (like the line Games concept
on the left of this text block), thin lines may
be optically adjusted to best suit a particular
and legacy Athlete experience is at the heart
of the Olympic Games. The success
of the Games depends on their
application. They should never be thicker than
performance, so ensuring the best
the body text weight. possible conditions for them both on
and off the field of play is critical.
Colour
Lines are most commonly used in black. They
can also be white when used on a darker back- This begins with the Olympic Village(s), which
ideally should be close to the competition
profound and impactful. Spectators and fans
do not simply watch the Games; they
ground, or a 50% tint of black when black is too The Olympic Games have the power to deliver long-lasting
and training venues to limit travel times. It also
extends to the athletes’ participation at
experience them through a variety of initiatives
before and during the event that provide
stark. Colour is permitted in very few cases, benefits that can positively impact a community, its image the Opening and Closing Ceremonies and
the creation of opportunities for Olympians to
authentic opportunities to participate in the
heart of the action.
most notably in digital and only as an accect and its infrastructure. To take full advantage of the opportunities come together in a spirit of celebration. Some initiatives are already well
One effective way to ensure an optimal established, such as the Torch Relay and the
that hosting the Olympic Games and Paralympic Games can
along side text, never as a devider. athlete experience is to involve them in Opening and Closing Ceremonies, while
provide, clear objectives must be in place for what you the decision-making process from the very others such as open warm-ups, mass events,
beginning, with roles in the planning and sports initiation programmes and open days
want the Games to deliver to your citizens, city, region and delivery of the Games, and an Athletes’ are under development. Many activities are
country. And to be truly sustainable, these objectives must Commission within the Organising Committee. free, making the Games even more accessible
The spectator and fan experience is also for everyone. Other activities are amplified
align with your long-term development planning and goals. crucial to the success of the Games. The through online platforms to connect the
Games provide an experience that is modern, physical with a digital experience.
15

A4 Portrait Layouts
LOREM IPSUM
Olympic Olympic Olympic
A4 portrait is the official format for printed pub- Committee Committee Committee
lications. Here are a few layout options. SIT DOLOR

LOREM IPSUM CONSECTETUR
Note how the underlying grid keeps all the SIT DOLOR ADIPISCING LOREM IPSUM SIT DOLOR
typographic elements in proportion with one CONSECTETUR ADIPISCING
another, using the Olympic rings as the base
measure for all those proportions.

refer to the IOC Publication Guidelines.
Covers
Margins: 7mm
Number of columns: 12
Column gutter width: 5.5 mm
Inside facing pages

Top, bottom and outside margins: 7 mm
Inside margins: 14 mm
Column gutter width: 5.5 mm
International Praesent blandit, lorem vel pellentesque
Vestibulum acti lectus
et augue luctus scelerisque
Olympic sit amet sit amet tellus.
Committee tempus, lacus massa vehicula turpis, Curabitur eget consectetur

est. Duis sit amet portti.
id feugiat tortor leo et odio. Aliquam erat

volutpat. Nullam in mattis est. Etiam
molestie mauris convallis suscipit place
rat. Maecenas pellentesque sed arcu.
Lorem ipsum dolor sit amet, consect Praesent blandit, lorem vel to pellen- Sed in nibh id felis tincidunt bibendum.
tetur adipiscing elit. Phasellus ati pellen tesque tempus, lacus massa a vehicula Curabitur eget consectetur est. Duis
tesque maximus leo ac fermentum. turpis, ida feugiat tortor leo et odio. sit amet porttitor augue. Integer viverra
Pellentesque id ligula nec nunc tempus Aliquam erat volutpat. Nullam into mat iaculis risus, a semper quam aliquam
condimentum. Donec fermentum act tis est. Etiam molestie mauris aquis id. Etiam varius nulla lorem, sed tempor
cumsan nisl vel gravida. Donec ullamat convallis suscipito placerat. Maecenas metus fringilla ac. Nam posuere nec
corper in velit eu pharetra. Suspen pellentesque sed arcu pretium ultri. mauris id fringilla. A hac habitasse plate
tincidunt, nisi vel semper ornare, duida Nunc condimentum elementum lacus, a dictumst. Integer pharetra at justo
libero vehicula est, iaculis ultricies sit amet placerat est interdum vitae. idan porta. Lorem ipsum dolor sit amet,
diam nulla at nisi. Mauris bibendum leo Vestibulum acti lectus et augue luctus consectetur adipiscing elit. Sed situ
id velit posuere, ut aliquet dui laoreet. scelerisque sit amet sit amet tellus. amet porta erat, quis blandit nisi. Nullat
Fusce dictum sem sed nunc sagittis diam nil, suscipit sed interdum sed,
cursus. Sed ut egestas turpis, in cursus Sed sodales dapibus dui, vitae ultricies posuere dapibus ex.
mi. Integer a malesuada ex, ac iaculis ex. Vivamus tristique diama feugiat,
velit. Suspendisse finibus odio lorem. interdum velit sed, dictum nunc. Mauris Pellentesque id ligula nec nunc tempus
Sed sodales dapibus dui, vitae ultricies elit libero, varius quis tellus a, suscipit condimentum. Donec fermentum act
ex. Vivamus tristique diama feugiat, sodales felis. Aliquam dignissim non cumsan nisl vel gravida. Donec ullamat
interdum velit sed, dictum nunc. Mauris enim vulputate vestibulum. Proin iaculis corper in velit eu pharetra. Suspen
elit libero, varius quis tellus a, suscipit luctus velit sit amet rhoncus sidamet. tincidunt, nisi vel semper ornare, duida
sodales felis. Aliquam dignissim non Sed in nibh id felis tincidunt bibendum. libero vehicula est, iaculis ultricies
enim vulputate vestibulum. Proin iaculis Curabitur eget consectetur est. Duis diam nulla at nisi. Mauris bibendum leo
ETIAM VIVAMUS luctus velit sit amet rhoncus. sit amet porttitor augue. Integer viverra id velit posuere, ut aliquet dui laoreet.
iaculis risus, a semper quam aliquam Fusce dictum sem sed nunc sagittis
Praesent blandit, lorem vel to pellen- id. Etiam varius nulla lorem, sed tempor cursus. Sed ut egestas turpis, in cursus
tesque tempus, lacus massa a vehicula metus fringilla ac. Nam posuere nec mi. Integer a malesuada ex, ac iaculis
VARIUS SEM turpis, ida feugiat tortor leo et odio.

Aliquam erat volutpat. Nullam into mat
tis est. Etiam molestie mauris aquis
mauris id fringilla. A hac habitasse plate
a dictumst. Integer pharetra at justo
idan porta. Lorem ipsum dolor sit amet,
velit. Suspendisse finibus odio lorem.
Sed sodales dapibus dui, vitae ultricies
ex. Vivamus tristique diama feugiat,
LOREM IPSUM
convallis suscipito placerat. Maecenas consectetur adipiscing elit. Sed situ interdum velit sed, dictum nunc. Mauris
SED MALESUADA pellentesque sed arcu pretium ultri.

Nunc condimentum elementum lacus,
sit amet placerat est interdum vitae.
Vestibulum acti lectus et augue luctus
scelerisque sit amet sit amet tellus.
amet porta erat, quis blandit nisi. Nullat
diam nil, suscipit sed interdum sed,
posuere dapibus ex.
Lorem ipsum dolor sit amet, consect

elit libero, varius quis tellus a, suscipit
sodales felis. Aliquam dignissim non
enim vulputate vestibulum.
SIT DOLOR
tetur adipiscing elit. Phasellus ati pellen
Sed in nibh id felis tincidunt bibendum. tesque maximus leo ac fermentum.
Curabitur eget consectetur est. Duis Pellentesque id ligula nec nunc tempus
sit amet porttitor augue. Integer viverra condimentum. Donec fermentum act
iaculis risus, a semper quam aliquam cumsan nisl vel gravida. Donec ullamat
id. Etiam varius nulla lorem, sed tempor corper in velit eu pharetra. Suspen
CONSECTETUR
metus fringilla ac. Nam posuere nec tincidunt, nisi vel semper ornare, duida
mauris id fringilla. A hac habitasse plate libero vehicula est, iaculis ultricies
a dictumst. Integer pharetra at justo diam nulla at nisi. Mauris bibendum leo
idan porta. Lorem ipsum dolor sit amet, id velit posuere, ut aliquet dui laoreet.
consectetur adipiscing elit. usce dictum sem sed nunc.
ADIPISCING 22 Name of the document Section title 23 Name of the document Section title

A4 landscape Layouts
LOREM IPSUM SIT DOLOR
International
A4 landscape is the official format for on-screen

Olympic
Committee
publications, as the horizontal format is optimal CONSECTETUR ADIPISCING

for a good desktop reading experience. This
format is single page only. It does not allow for LOREM IPSUM
facing pages. Here are a few layout options. SIT DOLOR
CONSECTETUR
Note how the underlying grid keeps all the ADIPISCING
typographic elements in proportion with one
another, using the Olympic rings as the base
measure for all those proportions.

refer to the IOC Publication Guidelines. International
Olympic
Committee
Covers
Margins: 7mm
Column gutter width: 4.5mm International
Olympic Section Title Document Title 23
Committee
Inside pages
Inside layouts use the same metrics as the LOREM Etiam scelerisque
cover, but an additional gutter is added on the IPSUM
justo interdum
left and at the top of the document. These are
used to add space between the content and the
lines surrounding the layout.
Dolor consectetur Lorem ipsum dolor sit amet, consectetur eros tincidunt non. In ac ornare sapien.
adipiscing aqui
adipiscing elit. Pellentesque maximus volut Duis vitae ipsum eget exto lobortis molestie
tpat lacus, a lacinia purus fringilla eget. non vel leo. Phasellus a maximus sapien.
Aliquam mattis eleifend maximus. Sed sem Donec atti scelerisque sed nisi sed blandit.
per est eu nibh consequat blandit. Vestib Laoreet nunc mattis et. Sed vehicula quam
ulum eget elit enim. Phasellus mattis ut lect non faucibus malesuada. Crasti sagittis
us sit amet volutpat. Nunc varius, velita turpis metus, ut porttitor justo blandit situa
ne rutrum volutpat, augue nun porta massa, amet. Nulla elit metus, volutpat efficitur
at luctus augue nibh sed. Suspendisse si semper id, euismod eu diam. Aliquam torta
International
Olympic amet odio at vitae lacus sagittis sollicitudin tor felis, mollis quis faucibus, imperdiet
Committee
vel vel erat. Aenean a rutrum enim, ut bibendum ipsum. Etiam commodo ullamo
pretium lacus. Cras nisi lorem, consectetur corper vehicula.
placerat accumsan lobortis, fermentum inta
leo. Morbi pharetra nisl augue, in egestas Nunc finibus ligula non maximus a blandit.
lectus tempor vel. Quisque eleifend dictum Vestibulum nec nunc at lorem rutrumo
odio eget euismod. In cursus purus non faucibus id viverra purus. Nunc malesuada
accumsan consequat. Cras augue at lectus, magna nibh, nec volutpat condimentum
volutpat in tristique a, semper qui augue. in. Donec imperdiet, nulla actio scelerisque
Nulla ornare nec nisi at scelerisque. Nullam rhoncus, orci nuncti lacinia quam, non
LOREM IPSUM eleifend ullamcorper dolor mat interdum. blandit nunc augue sit amet tortor. Phasel
lus tincidunt nisl ipsum, fermentum dict
SIT DOLOR
Maecenas porta enim at finibus sollicitudin. mi commodo vel. Suspendisse situan amet
Etiam scelerisque at justo sed interdum. sollicitudin diam. Nunc enim purus, tempus
Nullam eu elit id leom rutrum tempus. Duis molestie scelerisque nec, feugiat finibus
CONSECTETUR volutpat dolor id tortor placerat, ut posuere

eros tempor. Ut lobortis eleifend justo.
magna. Praesentat vestibulum ultricies dui
non tristique. Curabitur turpis dolor, pos
ADIPISCING Dui sodales venenatis nunc, eget dignissim uere congue vestibulum sed, tincidunt nec.

display Layouts
THE THE TAGLINE

To reduce complexity and maximise impact
in extreme size layouts, images should be
full bleed.
GOES HERE
Note how the underlying grid keeps the
typographic elements in proportion with the TAGLINE
Olympic rings.
In most instances, headline type should be left-

THE TAGLINE GOES
aligned and locked to an edge of the grid, with
the rings locked to a corner of the grid.
GOES HERE HERE
THE TAGLINE
GOES HERE
THE
TAGLINE
GOES
THE
HERE
TAGLINE
HERE
GOES
GOES
THE HERE
TITLE

Digital Layouts
Digital layouts conform to the grids that are
used for the respective screen sizes. Each page
can be treated as different sections stacked on
top of one another.
For the sections that require greater emphasis, Extra Large Large Medium Small
1600 px wide 1025 px wide 577 px wide 375 px wide
images can be full bleed, breaking the grid.

spacing in digital
Content should be associated by proximity,
avoiding large areas of whitespace.
Care should be taken to make sure enough con-

tent is visible per viewport so users do not need
to scroll excessively.
For headings
Bring headings closer to the content they relate
to so they are associated by proximity. Leave an
adequate gap above headings to separate them
from the previous content.
For tables
The height of tables should be contained
so several items are visible in one view-
port. The number of items visible in a table
viewport should be 5 to 9 given working
memory capacity.
Reference : The Magical Number Seven, Plus or

Minus Two (George A. Miller)

layering digital
components
Use elevation such as shadows and skrim to
show layering in digital environments.

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Olympic BRAND

International September 2022

2 Olympic Brand Guidelines International Olympic Committee

4 Olympic Brand Guidelines International Olympic Committee

The roots of our brand date back nearly 3,000

Since then, the Olympics have left an imprint on

Along with the Olympic rings, our values

-> More on Olympism

5 Introduction Olympic Brand Guidelines International Olympic Committee

Purpose Vision Positioning Values

-> More on Vision and Missions

6 Introduction Olympic Brand Guidelines International Olympic Committee

7 Introduction Olympic Brand Guidelines International Olympic Committee

Olympic symbol Colour Logo system Typography

Graphic devices Photography Illustrations Pictograms

8 Introduction Olympic Brand Guidelines International Olympic Committee

9 Olympic Brand Guidelines International Olympic Committee

10 Olympic symbol Olympic Brand Guidelines International Olympic Committee

11 Olympic symbol Olympic Brand Guidelines International Olympic Committee

Isolation area Minimum size

13 Olympic symbol Olympic Brand Guidelines International Olympic Committee

White Black Blue Yellow Green Red Gold Silver Bronze

14 Olympic symbol Olympic Brand Guidelines International Olympic Committee

Applying on light backgrounds

For more information on applying the Olympic

15 Olympic symbol Olympic Brand Guidelines International Olympic Committee

The Olympic rings should never be altered in

Do not fill with imagery. Do not add gradients. Do not distort.

16 Olympic symbol Olympic Brand Guidelines International Olympic Committee

17 Olympic Brand Guidelines International Olympic Committee

Our primary brand colours are blue, yellow,

Green Red White

18 Colour Olympic Brand Guidelines International Olympic Committee

The medal colours provide a beautiful, more

These colours are contemporary and distin-

19 Colour Olympic Brand Guidelines International Olympic Committee

The extended colours are designed only for

20 Colour Olympic Brand Guidelines International Olympic Committee

21 Colour Olympic Brand Guidelines International Olympic Committee

When designing a series of applications that

For digital interfaces, apply colour consistently,

Use colour to indicate interactivity with hover

22 Colour Olympic Brand Guidelines International Olympic Committee

Colours should be separated by generous areas

For digital interfaces, favour black and white

FROM CARBON NEUTRAL

23 Colour Olympic Brand Guidelines International Olympic Committee

24 Olympic Brand Guidelines International Olympic Committee

25 Logo system Olympic Brand Guidelines International Olympic Committee

1/2 x x 1/2 x 1/2 x

27 Logo system Olympic Brand Guidelines International Olympic Committee

1/2 x x 1/2 x 1/2 x

28 Logo system Olympic Brand Guidelines International Olympic Committee

1/2 x x 1/2 x 1/2 x 1/2 x

Comité International International

29 Olympic Brand Guidelines International Olympic Committee

Olympic Fondation Olympique

30 Logo system Olympic Brand Guidelines International Olympic Committee

This flexibility reduces visual noise around the