Book Layout

2036 Olympics Project
California State University Channel Islands
All Graphic Design, Book Design, Logo
Design, and Layout by Elizabeth Lawrence.
www.elizabeth-lawrence.com
This book is purely a work of fiction that was
created for educational purposes only. These
designs are not in any way affiliated with the
Olympic Games nor any campaigns attempting
to host the Olympics. All artwork developed for
this book is not for sale and all rights for the
photography, fonts, and other referenced designs
belong to their original owners or freely made
available for use.
Printed in the USA.
©Elizabeth Lawrence

Why Auckland?
06
contents
Our Vision
10
Branding styles
14
the logo
18
26
the typography
the colors
22
30
the photography
34
the pictograms
38
print design
46
screen design
56
merch design
60
Closing haka
05

why auckland?
Auckland was once a Māori settlement more
than 650 years ago known as Tamaki Makau Rau,
meaning ‘isthmus of one thousand lovers’. While
it isn’t any surprise that Kiwis have a reputation
for keeping up with the traditional Māori spirit of
manaakitanga (hospitality and generosity), the
city of Auckland remains to be a place of spirit,
color, and openness. With more than 200 different
ethnic groups living here, the city has a rich
mix that’s reflected in restaurants,
meeting places, events, music and
art. We believe there is value
in embracing and celebrating
everyone.
Ma tini ma
mano ka rapa te
whai.
08

Many hands
make light work.
Unity is strength.
09

Our vision
08 12

Since it was first settled, Auckland has continued to be an international symbol of growth,
diversity, and acceptance. We believe in the power of unity to help transform the world
today to build a better future tomorrow.
Today, Auckland 2036 is inviting the world to follow the tide on an odyssey of a sport
revolution to transform the Olympics to:
• Provide the absolute
finest experience
for the Athletes
with a high level of
personalization and
satisfaction
• Fuse together the
passion for sports and
cultural diversity to
reinvigorate the Olympic
brand worldwide
• Empower the youth
to participate in the
Olympic Games now
and for generations
to come
13

Branding Styles
16

17

11

the logo
12 20

logo variations
Auckland is an innovative, globally connected city and a place for peace and harmony
among people. This holds true in our logo, from our seal to our typography.
The seal is representative of Auckland’s European roots while embracing the iconic Koru (spiral) and
Hei-Matau (fishhook) symbols of the Māori people. The Koru signifies growth and rebirth as well as a deep
connection with the earth. The Hei-Matau personifies good luck, strength and prosperity. The overlapping of
circles behind the seal represents that even though we are from different worlds, we are united by our nature
and humanity. The typography of Auckland is a direct reference to how tradition has shaped today. The ball
terminal, or dots at the edges of the letters are reminiscent of the shape used in ancient
Māori tā moko tattoo art. The logo must be accompanied by the pattern of the
unfurling fern which signifies the new age, growing together as one.
21

14

15

the colors
#27A8AD
RGB 39, 168, 173
HSV 182, 77, 68
CMYK 77, 3, 0, 32
LAB 63, -31, -12
hoanga materu
(fine sandstone)
#F4DFC4
RGB 244, 223, 196
HSV 34, 20, 96
CMYK 0, 9, 20, 4
LAB 90, 3, 16
24
#F2C84B
RGB 242, 200, 75
HSV 45, 69, 95
CMYK 0, 17, 69, 5
LAB 82, 2, 65

#F26241
RGB 242, 98, 65
HSV 11, 73, 95
CMYK 0, 60, 73, 5
LAB 60, 54, 46
#404373
RGB 64, 67, 115
HSV 236, 44, 45
CMYK 44, 42, 0, 55
LAB 30, 12, -28
pukepoto
(cobalt blue earth)
#299C7F
RGB 41, 156, 127
HSV 165, 74, 61
CMYK 74, 0, 19, 39
LAB 58, -39, 6
25

18

1911

the typography
The typeface Goku has been chosen to
be used as an accent look for all brand
messaging and Maori translations. As
part of the logo, this typeface is meant
to be used sparingly. Its uniquely bold
lines and subtle curves serve as a rythmic
quality to the branding. The ball terminals
symbolize shapes the Māori people used.
28
The big and bold typeface Bebas has
been chosen to be the lead with all brand
messaging for which all headlines (with
the exception of live broadcast headlines)
and sign-offs are to be designed. Bebas
shows urgency and epitomizes modernity
through its caps-only structure.

The sans-serif typeface Nirmala UI has
been chosen to be used as a secondary
font for headlines and the primary font
for body text. All body copy where a
lot of text is needed will be done in this
typeface. All text written in Hindi, one
of Auckland’s top languages, will also be
done in this font.
The sans-serif typeface Calibri has been
chosen to be used as a secondary font
for body text. All text written in Māori
with accents will be done in this font.
Its rounded stems and subtle curves
are complimentary to the modernity of
Auckland’s continuing story.
29

the photography
The photographic style of the Auckland 36
Olympics mirrors the sense of energy and thrill
that athletes and fans alike embody. Our colors
should be highlighted in photographs within
print media and TV recorded screen design. A
bitmapped, high contrast athletic photo should
be overlayed with the pukepoto (cobalt blue
earth) color. The bitmap effect adds a duo-tone
look with the added benefit of texture.
Photos chosen in the brand photography
should show dynamic spirit and vigor so that
it electrifies and engages viewers. Print media
such as tickets should have the athelete cropped
without showing too much of the background
that may detract from the focus of the sports.
32

18

1911

the pictograms
36

The pictogram style is influenced heavily by the art
of tā moko, which is the tattoo style traditionally
practiced by the Māori people. In pre-European times,
most high-ranking people received moko. Captain
James Cook, a Brittish explorer once wrote in 1789:
“The marks in general are spirals drawn with great nicety and even
elegance. One side corresponds with the other. The marks on the
body resemble foliage in old chased ornaments, convolutions of
filigree work, but in these they have such a luxury of forms that of
a hundred which at first appeared exactly the same no two were
formed alike on close examination.”
The art of tā moko is still practiced today for men and women as a revival of
cultural identity and a reflection of the language and culture.
37

print design
40

the tickets
41

print design
the lanyards
42

43

print design
44

the posters
45

18

screen design
48

TV commercial schedule graphics
49

screen design
50

live tv broadcast graphics
51

screen design
52

live tv transitional graphics
53

screen design
54

app design
55

merch design
58

59

Closing haka
62
Taringa Whakarongo!
Listen carefully!
Kia rite! Kia rite!
prepare yourself! Prepare yourself!
Kia mau! Hi!
hold fast! yeah!
Ringa ringa pakia!
slap your hands against your thighs!
Waewae takahia, kia kino nei hoki!
stamp your feet as hard as you can!
Kia kino nei hoki!
as hard as you can!
a ka mate, ka mate ka ora, ka ora
will i die? will i die? will i live? will i live?

ka mate, ka mate ka ora, ka ora
will i die? will i die? will i live? will i live?
Tenei te tangata puhuruhuru
this is the hairy man
nana nei i tiki mai
who brought the sun
whakawhiti te ra!
and caused it to shine!
a upane, a ka upane
A step upward, another step upward!
a upane, ka upane
A step upward, another step upward!
white te ra
the sun shines!
-all blacks new zealand national rugby union team
63