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  • Have you seen these? These are the pictograms for the Paris 2024 Olympics, but the brand directive for the Paris Games is called pictograms a relic of the past, calling these instead a coat of arms for the events. So should this win a gold medal for innovation, or be disqualified for throwing out the rulebook? Let's dive in. I previously did a full breakdown of the history of Olympic pictograms on this channel, but let's do a quick pictograms 101. The first pictograms for the Olympics were introduced at Tokyo 1964 to solve communication and wayfinding problems for international visitors who couldn't read Japanese. Good pictograms should strive for four key qualities. First, clarity of meaning. They should be instantly understandable, regardless of your language or cultural background. Second, readability. The design should be simple enough to be recognized at a glance, even when viewed from afar, or shrunk down to a tiny size. Third, consistency. The entire set should feel unified, not like a collection of random illustrations. And finally, four, distinctiveness. Each pictogram should be unique enough to avoid confusion with others in the set. Tokyo 64 established a convention for sporting events with a simplified figure in an emblematic pose, with a clear uniform or equipment for that sport. With the exception of Mexico 68, which we'll come back to, designers since then until 2022 have largely worked within this framework. The designs reached their most graphically pure interpretation at the 1974 Munich games under Otto Eicke, and in the 1990s they began to incorporate more playful approaches with visual motifs from the host country's culture, or overall branding for that year's game. Now let's examine these blasons designed for the

    これを見たことがあるだろうか？これは2024年パリ・オリンピックのピクトグラムだが、パリ大会のブランドディレクティブはピクトグラムを過去の遺物と呼び、代わりにこれを大会の紋章と呼んでいる。では、これは革新性で金メダルを獲得すべきなのか、それともルールブックを投げ捨てたとして失格なのか？さっそく見ていこう。以前、このチャンネルでオリンピックのピクトグラムの歴史について詳しく説明したが、ここで簡単にピクトグラム101を紹介しよう。オリンピックの最初のピクトグラムは、1964年の東京大会で、日本語が読めない外国

  • Paris games. According to the press, each incorporates three key elements. First, an axis of symmetry, often mirrored across a diagonal, like a face card in a deck of playing cards. Two, a depiction of the ground, usually the court, field, or track for the event. And three, a representation of the sport, typically shown through a piece of equipment or gear. Notably absent is any representation of the athletes themselves, which they claim makes them more inclusive, because there is no figure that can be read as either male or female. But does it really achieve this goal? This is especially complicated for the Paralympic events. Is it truly more inclusive to remove the athlete, the human being, and leave the mobility aid in the center of the pictogram? Just as importantly, do these graphics actually meet the criteria of a good pictogram? They do certainly feel like a consistent set, but let's compare them to the

    パリの試合。プレスによれば、それぞれのゲームには3つの重要な要素が盛り込まれている。1つ目は対称軸で、トランプのフェイスカードのように対角線上に描かれることが多い。2つ目は地面の描写で、通常は競技のコート、フィールド、トラックである。そして3つ目は、スポーツの表現で、通常は用具や道具の一部を通して示される。注目すべきは、アスリート自身の表現が一切ないことだ。男性とも女性とも読み取れる人物がいないため、より包括的な表現になると彼らは主張する。しかし、この目的は本当に達成されているのだろうか？特にパラリンピッ

  • Tokyo 2020 designs. Between these two options, which has better clarity of meaning? Between these two, which is more readable? Can you tell which is which between these? How about these?

    東京2020のデザイン。この2つの選択肢のうち、どちらがより意味が明確だろうか？どちらが読みやすいですか？どちらがより読みやすいですか？いかがでしょうか？

  • Interestingly, the Mexico City Games of 1968 also broke with convention, avoiding human figures in favor of sporting equipment. Yet they still met all the important criteria for good pictogram design. Which brings us to a crucial question. Does it even matter that these new designs don't function as pictograms? Are the problems that pictograms were designed to solve in the 20th century still relevant today? For a printed tourist map of different venues, you need functional pictograms. But now you could just use Google Maps. Tuning in mid broadcast on television, a pictogram can work as a quick reference point to which event you're watching.

    興味深いことに、1968年のメキシコ・シティ大会も慣例にとらわれず、人物を避け、スポーツ用具を使用した。しかし、それでも優れたピクトグラム・デザインの重要な基準はすべて満たしていた。ここで重要な疑問が浮かぶ。これらの新しいデザインがピクトグラムとして機能していないことは問題なのだろうか？20世紀にピクトグラムが解決するためにデザインされた問題は、現在でも通用するのだろうか？さまざまな場所を印刷した観光地図には、機能的なピクトグラムが必要だ。でも今はグーグルマップを使えばいい。テレビで放送中の番組を見るとき

  • But streaming online, the interface will give you more specific information before you click play.

    しかし、オンラインストリーミングでは、再生ボタンをクリックする前に、インターフェイスがより具体的な情報を教えてくれる。

  • So you could argue that pictograms are less relevant in the digital age, but losing them entirely seems counterintuitive to the goal of inclusivity. Physical visitors to venues will still need to navigate around them without using apps. And even on the official Olympic website, these complex graphics scale down so badly that they actually hinder readability.

    つまり、ピクトグラムはデジタル時代にはあまり意味がないとも言えるが、ピクトグラムを完全に失うことは、包括性という目標には直感に反するように思える。会場への物理的な訪問者は、アプリを使わずにナビゲートする必要がある。そして、オリンピックの公式ウェブサイトでさえ、これらの複雑なグラフィックは非常に縮小され、実際に読みやすさを妨げている。

  • Look at this event schedule. This table would be much cleaner and easier to read without these little smashed cockroach graphics at the side. Where they're perhaps being used more successfully is as decorative elements in commemorative merchandising and as graphic patterns in event spaces. This ornamental approach does feel characteristically French. You can't help but think about iconic brands like Louis Vuitton or Ladurée, and they're known for pattern and ornament. This is the country that invented the term baroque. It's hardly shocking that the scales have tipped towards form over function. The question is why they needed to hijack the poor pictograms to achieve this effect. They could have left them in their functional form and had this decorative pattern as a separate part of the visual brand expression for the games. Instead, we have this element that doesn't quite align with the more geometric modern deco style of the visual identity and has little connection to the logo or emblem for the games. If I can speculate for a moment, this axis of symmetry concept feels like it belongs to a completely different creative direction that was explored earlier and then abandoned, leaving this as an orphaned element. We know the original logo when Paris won the bid was based on the Eiffel Tower, which would have provided some connection to this symmetry and reflection motif. But now we're left with this ornamental element that doesn't quite succeed in the role of pictograms and doesn't really reinforce the visual identity for the games either. What do you think of the coats of arms concept? Do you think it will stand the test of time or have they missed the mark completely?

    このイベントスケジュールを見てほしい。横の小さなゴキブリのグラフィックがなければ、この表はもっとすっきりして見やすくなるはずだ。ゴキブリがもっとうまく使われているのは、記念グッズの装飾的な要素や、イベントスペースのグラフィック・パターンとしてだろう。この装飾的なアプローチには、フランスらしさが感じられる。ルイ・ヴィトンやラデュレのような象徴的なブランドを思い浮かべずにはいられないだろう。バロックという言葉を生み出した国なのだ。機能よりもフォルムを重視するようになったことは、ほとんど衝撃的なことではない。問

  • Let me know in the comments.

    コメントで教えてください。

Have you seen these? These are the pictograms for the Paris 2024 Olympics, but the brand directive for the Paris Games is called pictograms a relic of the past, calling these instead a coat of arms for the events. So should this win a gold medal for innovation, or be disqualified for throwing out the rulebook? Let's dive in. I previously did a full breakdown of the history of Olympic pictograms on this channel, but let's do a quick pictograms 101. The first pictograms for the Olympics were introduced at Tokyo 1964 to solve communication and wayfinding problems for international visitors who couldn't read Japanese. Good pictograms should strive for four key qualities. First, clarity of meaning. They should be instantly understandable, regardless of your language or cultural background. Second, readability. The design should be simple enough to be recognized at a glance, even when viewed from afar, or shrunk down to a tiny size. Third, consistency. The entire set should feel unified, not like a collection of random illustrations. And finally, four, distinctiveness. Each pictogram should be unique enough to avoid confusion with others in the set. Tokyo 64 established a convention for sporting events with a simplified figure in an emblematic pose, with a clear uniform or equipment for that sport. With the exception of Mexico 68, which we'll come back to, designers since then until 2022 have largely worked within this framework. The designs reached their most graphically pure interpretation at the 1974 Munich games under Otto Eicke, and in the 1990s they began to incorporate more playful approaches with visual motifs from the host country's culture, or overall branding for that year's game. Now let's examine these blasons designed for the

これを見たことがあるだろうか？これは2024年パリ・オリンピックのピクトグラムだが、パリ大会のブランドディレクティブはピクトグラムを過去の遺物と呼び、代わりにこれを大会の紋章と呼んでいる。では、これは革新性で金メダルを獲得すべきなのか、それともルールブックを投げ捨てたとして失格なのか？さっそく見ていこう。以前、このチャンネルでオリンピックのピクトグラムの歴史について詳しく説明したが、ここで簡単にピクトグラム101を紹介しよう。オリンピックの最初のピクトグラムは、1964年の東京大会で、日本語が読めない外国

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