The Olympic tickets, designed by Futurebrand, show the flexibility both of the Wolff Olins logo and the pictogram system designed by Someone.
They’re clear, striking and, most importantly, look like something that lucky Olympics ticket-owners will cherish when they land on doormats this week.
Back in 2009, Design Week’s Tom Banks wrote about the ‘flexible’ nature of the London 2012 logo – panned at its unveiling in June 2007. He pointed out that its flexibility means that it can be easily adapted to different platforms.
Commentators in the piece noted that Wolff Olins had to design a logo five years in advance of the event, that would have to be adapted to newly-emerging platforms and technologies that the designers couldn’t even envisage in 2007.
A brand, as we all know, is much more than just a logo. And when new brands are unveiled it can be easy to make snap judgements based simply on the logo design in isolation.
Sometimes it can take time – and different applications – for the true nature of the brand identity to become apparent. In the case of the OIympics this moment seems to be arriving just in time for the opening ceremony.