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Emblème

The world’s first kinetic visual identity system packaged in a variable font file.

Emblème is a variable font that’s more than a set of letterforms. It’s a type-driven brand system, with typography, motion, colour, emblems, and identity behaviours built directly into the font itself.

Emblème offers organisations the opportunity to acquire a complete identity system that has already been designed, explored, and refined. Rather than commissioning a brand from a blank page, you begin with a fully realised visual language that can then be tailored to your organisation.

The font’s components work together as a coherent system. Kinetic pictograms animate between states rather than simply shifting weight. Motifs use color font technology to build patterns and textures directly within the type tool. Emblems are accessible via simple keyboard codes — no glyph palette hunting — and can be activated online through CSS and JavaScript to respond to hover, click, or cursor movement. The 1/1 license means Emblème will only ever belong to one brand, ensuring its visual language stays singular.

The design is rooted in Otl Aicher’s work for the 1972 Munich Olympics, a system built on modernist clarity, geometric pictograms, and a rigorous approach to identity at scale. Emblème takes that visual intelligence and asks what it looks like when the constraints are variable font axes rather than print specifications.

Features:

Easy Access Glyphs

Pictograms, emblems, and motifs are easy to access, there’s no need to hunt in the glyph palette. In your text box simply type ‘//’ followed by the code from the indexes and they will appear.

Animating beyond a weight shift

Emblems and pictograms don’t simply transition from light to bold, they animate between different states.

Motifs in Color

The color of each default motif can be changed as with any other character in the font. This primary setting allows for variable / animation capability.

Each motif has a special edition color version, accessed using stylistic set 13. These feature predfined combinations weaving more than one color per design.

Color Palette

The color palette is provided as its own glyph accessed by typing ‘/ /color’

Demos

Demo

A design created with each of the elements of the variable font; typeforms, pictograms, emblems, and motifs, all accessed directly with the keyboard •

Poster Demo

This video demonstrates how the designs were made by typing the //code to create the specific emblem glyph • In each example 2 emblems were layered on top of each other with slight adjustment to the weight axis to create a sense of movement •

Texture Demo

This video demonstrates how the various variable motif designs can be combined at different scales to create a graphic illustration with a sense of depth •

Image Masking

Here we see how the motifs are easily accessed by typing the //code, adjusted using the variable axis, and outlined to create an image mask for combining two images •

Animating the image mask can change emphasis on each image while keeping them integrated •

Motif Editor

Adjust the weight axis to see variations in the motif design • Toggle between ss13 and default sets to switch between color and monochrome designs • NB variable color fonts only display in Chrome and Opera •

//mtf4

Full User Manual

For in depth information and visual examples please reference the full 242 page user manual •

Pictograms

Foundation

Minimalist, geometric, and highly standardized, the pictograms embody the principles of clarity and simplicity that were central to Otl Aicher’s design philosophy • Minimalist, geometric, and highly standardized, the pictograms embody the principles of clarity and simplicity that were central to Otl Aicher’s design philosophy •

Animate

The pictograms take the principle of Aicher’s designs and reimagines them in a digital environment with animation for engaging micro interactions • Use the variable axis to activate motion • The pictograms take the principle of Aicher’s designs and reimagines them in a digital environment with animation for engaging micro interactions • Use the variable axis to activate motion •

Easy Access

Locating pictograms in your glyphs palette can be a chore, so type // followed by the label in the Index (all lower case) and the icon will appear • Locating pictograms in your glyphs palette can be a chore, so type // followed by the label in the Index (all lower case) and the icon will appear •

Interact

Each pictogram can be activated online with user interaction using CSS and Javascript • In this case a click interaction; test more examples including click and cursor follow below • Each pictogram can be activated online with user interaction using CSS and Javascript • In this case a click interaction; test more examples including click and cursor follow below •

Click On/Off

💤

⏽

Click Bounce

🖨

📷

Click On/Off

💤

⏽

Click Bounce

🖨

📷

Cursor Follow

👁

🌐

Hover

☔

📍

Axis Indicator Dials

3 options of variable axis indicator dials each easily accessed with the //dial shortcut • The dials provide an easy way to mark exactly what setting the variable axis is at for a specific iteration of a dynamic emblem, pictogram, or motif • 3 options of variable axis indicator dials each easily accessed with the //dial shortcut • The dials provide an easy way to mark exactly what setting the variable axis is at for a specific iteration of a dynamic emblem, pictogram, or motif •







Emblems

//mblm

Emblems

//mblm

//mblm 1-9

To access the various emblems simply type //mblm followed by the relevant number • Use the variable axis to seamlessly transition between numerous states • To access the various emblems simply type //mblm followed by the relevant number • Use the variable axis to seamlessly transition between numerous states •

Easy Access

Each emblem is a glyph that can be easily accessed by typing the //code from this index • There is also a dedicated private use Unicode for each emblem • Each emblem is a glyph that can be easily accessed by typing the //code from this index • There is also a dedicated private use Unicode for each emblem •

Interact

Each emblem can be activated online with user interaction using CSS and Javascript • In this case a hover interaction, test more examples including click and cursor follow below • Each emblem can be activated online with user interaction using CSS and Javascript • In this case a hover interaction, test more examples including click and cursor follow below •

Click On/Off



Click Bounce



Click On/Off



Click Bounce



Cursor Follow



Hover



Animation



Motifs

//mtf

Motifs

//mtf

//mtf 1-9

To access the various motifs simply type //mtf followed by the relevant number • Use the variable axis to seamlessly transition between numerous states • To access the various motifs simply type //mtf followed by the relevant number • Use the variable axis to seamlessly transition between numerous states •

Easy Access

This is a live example of typing and animating the motifs directly in the browser using code to alter the design with the weight axis • This is a live example of typing and animating the motifs directly in the browser using code to alter the design with the weight axis •

Color

Access the color palette glyph by typing ‘/ /color’ • This provides quick reference for digital environments • Access the color palette glyph by typing ‘/ /color’ • This provides quick reference for digital environments •

Pattern

Motifs can be tiled to create a larger pattern or textile • These examples are made using the color editions of the motifs • Motifs can be tiled to create a larger pattern or textile • These examples are made using the color editions of the motifs •

Multi-color Weave

Color is used to provide preset combinations for the various motifs and to weave multiple colors into each design, similar to how colors would be used in a textile • Color is used to provide preset combinations for the various motifs and to weave multiple colors into each design, similar to how colors would be used in a textile •

Color Tester

Use the Next button to cycle through the different motifs tiled as patterns • Adjust the weight axis to see variations of the designs • Toggle between ss13 and default sets to switch between color and monochrome designs • NB variable color fonts only display in Chrome and Opera • Use the Next button to cycle through the different motifs tiled as patterns • Adjust the weight axis to see variations of the designs • Toggle between ss13 and default sets to switch between color and monochrome designs • NB variable color fonts only display in Chrome and Opera •

//mtf1//mtf8//mtf2//mtf1//mtf4//mtf1

Letterforms

Abc

Letterforms

Abc123

1 Axis [wght]

AaBbCcDdEeFfGgHhIiJj
KkLlMmNnOoPpQqRrSs
TtUuVvWwXxYyZz
1234567890

7 Static Styles

Abc123

Construction

Ligatures

International

ŘŴÆßəòüå

Symbols

@&¶§©®™°′″|¦†‡№₿¢¤$€£¥

Figures

0123456789 0123456789

⓪①②③④❺❻❼❽❾ ⓪①②③④❺❻❼❽❾

¼ ½ ¾ ⅓ ⅔ ⅛ ⅜ ⅝ ⅞ ¼ ½ ¾ ⅓ ⅔ ⅛ ⅜ ⅝ ⅞

ŘŴÆßəòüå№₿@&¶§©®™°

①②③④❺❻❼❽❾½ ⅔ ¾ ⅝

Anatomy

Alternates

The font features 13 sets of stylistic alternates which can be accessed using OpenType features •The font features 13 sets of stylistic alternates which can be accessed using OpenType features •

Built on OC Oly

Reference

…

Emblems: Munich / Sarajevo / Lillehammer / Tokyo

Emblems have played a central role in the visual identities of the Olympic Games, serving as symbols that encapsulate the spirit, culture, and aspirations of the host city and nation.

Each Olympic emblem is designed to be instantly recognizable, conveying the values of the Games and reflecting the unique characteristics of the host. Over the years, the design of Olympic emblems has evolved, with each iteration contributing to the visual narrative of the Olympics. Among these, the emblem for the Munich 1972 Olympics stands out as a seminal example of modernist design in the context of global events.

Despite his influential role in the Munich visual identity, Otl Aicher didn’t actually design the final emblem for the 1972 games. He initially submitted the deisgn of an emblem, the so-called Strahlenkranz [an aureole or radiant garland]. With it he was attempting to represent the aim of the Olympic Games in Munich — lightness, cheerfulness and freshness—as expressed in the phrase ‘Radiant Munich’. While Aicher’s initial proposal was conceptually well-founded, it was felt that its ‘generic’ properties would prevent it from being legally protected, so the Board of the Olympic Committee [OC] didn’t want to use it and announced a competition to produce the emblem. They recieved 2,332 entries and found the results unsatisfactory. The OC eventually chose a design by graphic designer Coordt von Mannstein, the ‘Strahlenkranz with Superimposed Spiral’. His proposal evolved Aicher’s design with the introduction of a spiral which was to make the emblem dynamic; suggesting a “Radiant Munich” and developing a sense of “tension” and “increased spring power”.

Type: Adrian Frutiger / Otl Aicher / Dieter Rams

Adrian Frutiger and Otl Aicher were both influential figures in the world of type design and graphic design, respectively, but they did not formally collaborate on any major projects. However, their work did intersect in interesting ways.

Frutiger, a Swiss type designer, was known for creating typefaces such as Univers, Frutiger, and Avenir. Aicher, a German graphic designer, is perhaps best known for his work on the visual identity for the 1972 Munich Olympics While there is no record of them directly collaborating, both were active during the same period and contributed significantly to the development of modernist design in Europe. Their shared commitment to clarity, functionality, and modernist principles aligns their work in the broader context of 20th-century design. Probably the most important typeface in Aicher’s design career was Univers, designed by Adrian Frutiger… Aicher regarded Frutiger’s design as a great typographic achievement. ‘Univers was not a dyed-in-the-wool sans serif. The range of strokes was greater, though remaining within the overall sans serif format. Univers walked tall alongside jobbing sans serif [i.e., Akzidenz Grotesk] and Helvetica, and outmanouvered them simply because of its concessions to roman type[i.e., Antiqua].’ Aicher used Univers to realize a large number of corporate identities, and perhaps the most important commission of his design career, the visul identity of the 1972 Olympic Games in Munich, was created in a large part by the use of Univers.

Otl Aicher’s graphic design principles complemented Dieter Rams’ product design philosophy, leading to a cohesive and consistent visual identity for Braun that remains influential in the design world to this day. Their collaboration is a prime example of how product design and graphic design can come together to create a unified brand experience.

When thinking of a style of design for the variable axis Dials included with the font—which would complement the rest of the system—Dieter Rams’ work for Braun came to mind. Doing a bit of research it turned out Otl Aicher also worked on those dials. True story.

Rams, known for his “Less, but better” philosophy, was the head of design at Braun, where he developed a range of iconic products for which Aicher designed the displays. Their collaboration occurred when Aicher and the Ulm School of Design (HfG Ulm), worked with Braun in the late 1950s and 1960s. Hans Gugelot, Aicher’s lecturer colleague from the Department of Product Design, designed the Sk4 together with Braun designer Dieter Rams. Aicher created all of the visual elements for this device and subsequent models such as dials, displays and lettering. He was instrumental in developing Braun’s corporate identity. This partnership was an extension of the Bauhaus-influenced design philosophy that both Rams and Aicher shared, emphasizing simplicity, clarity, and functionalism.

Motifs: Anni Albers / Gunta Stölzl / Bridget Riley

What if Otl Aicher had commissioned someone to create patterns or textiles for the 1972 Munich Olympics? It’s likely he would have chosen a designer whose work aligned with the functional, modernist ethos of the overall visual identity. Aicher’s design for the Munich Olympics was deeply rooted in principles of clarity, minimalism, and modular systems, so the textile or pattern designer would have to complement this approach. Here are a few candidates who could have been ideal choices based on their design philosophies and proximity to Aicher’s network:

Anni Albers, a former Bauhaus master weaver, was known for her geometric, modernist textile designs that focused on clarity and abstraction—an aesthetic that would have aligned perfectly with Aicher’s clean, systematic approach.

Albers’ textiles often featured repeating patterns that emphasized structure and simplicity, making her a natural fit for Aicher’s modular and grid-based design system. While there’s no direct record of collaboration, Albers’ Bauhaus background and international recognition in textile design would have made her an obvious choice for a project of this scale, especially with Aicher’s strong Bauhaus influence. Anni Albers was a major figure in textile design and weaving during the Bauhaus era in the 1920s and 1930s. While she continued to work and exhibit after moving to the United States, her most groundbreaking and influential work occurred earlier in her career. By the 1970s, she was still active but not as prolific or in the public eye as she had been during her Bauhaus years. However, her influence on modernist textile design was still very much recognized during this period.

Gunta Stölzl, another Bauhaus figure and a pioneer of modernist weaving, would have been an excellent choice for Aicher.

Her use of bold color, geometric shapes, and functional textiles aligned with the aesthetic of Aicher’s Olympic identity. Her work represented an intersection of art and function, a key Bauhaus principle that would have meshed well with the pragmatic, yet visually engaging design of the Munich Olympics.

Although Stölzl had left Germany before the Ulm School was founded, her Bauhaus legacy remained influential in German design circles. Aicher would likely have admired her work.

Gunta Stölzl, like Anni Albers, was primarily active during the Bauhaus era (1920s–1930s). She was the only woman to hold a master position at the Bauhaus and was a pioneer in modernist textile design. After leaving the Bauhaus in 1931, she continued to teach and work in textile design, but by the 1970s, she was no longer actively creating new works and had largely stepped back from the public eye.

Bridget Riley, a pioneer of Op Art, was renowned for her geometric, precise patterns that created optical illusions and visual movement. Her exploration of form, rhythm, and abstraction aligned closely with Aicher’s emphasis on clarity, simplicity, and repetition.

The visual effects Riley achieved through her use of repetition and geometry could have translated seamlessly into textiles or patterns for the Games, adding a sense of energy and modernism to the visual identity.

Although there’s no known direct connection between Riley and Aicher, their work shared common ground in the visual arts and design movements of the time. Both were deeply influenced by modernist principles and the Bauhaus legacy, focusing on form, function, and abstraction. Riley’s growing prominence during the 1960s and 1970s, as well as the global appeal of her work, would have made her a fitting collaborator for a project like the Munich Olympics, with its bold, forward-thinking visual identity.

Bridget Riley was in the prime of her career during the 1960s and 1970s, with her Op Art movement gaining international recognition.

Pictograms: Otl Aicher

Pictograms were a crucial part of Otl Aicher’s work, particularly in his design of the visual identity for the 1972 Munich Olympics when he was tasked with creating a visual identity that could communicate across languages and cultures.

Given the international nature of the Olympics, it was essential to develop a system of signage and information that would be universally understood by people from diverse linguistic backgrounds.

To address this challenge, Aicher designed a set of pictograms that represented each Olympic sport. These pictograms were minimalist, geometric, and highly standardized, embodying the principles of clarity and simplicity that were central to Aicher’s design philosophy. The pictograms were designed to be easily recognizable at a glance, ensuring that they could effectively guide and inform visitors.

Aicher believed in creating systematic, cohesive visual identities. The pictograms were part of a broader visual system that included typography, color schemes, and grid-based layouts. This systematization was crucial for maintaining consistency across all visual communications for the Olympics.

The success of Aicher’s pictograms set a new standard for how information could be communicated visually, especially in public spaces.

Bibliography

Otl Aicher:
Design. Type. Thinking

Prestel, 2022
Winfried Nerdinger (Editor)
Wilhelm Vossenkuhl (Editor)

Guidelines and Standards for the Visual Design The Games of the XX Olympiad Munich 1972

Niggli Verlag, 2019

Dieter Rams: As Little Design As Possible

Phaidon, 2011 Sophie Lovell

Anni Albers

Yale University Press, 2018 Ann Coxon (Author), Briony Fer (Author), Maria Müller-Schareck (Author)

logohistories.com

munich72collected.com

wikipedia.org

Thank you

License & FAQ

Everything you need to know about licensing Emblème, what’s included, and whether it’s the right fit for your organisation.

What makes OC Emblème unique?
OC Emblème isn’t just a font; it’s a full visual identity system packaged into a single file. It integrates typography, color, motion, and branding into one cohesive tool, redefining what a font can achieve. Rather than beginning with months of research, strategy, and concept development, Emblème starts with a complete, proven identity system that can then be adapted for its new owner.

What does the 1/1 license mean?
The 1/1 licence means Emblème will only ever be licensed to a single organisation. This ensures the complete ecosystem of typography, emblems, motifs, icons, and their integration remains exclusive to its new owner. Once licensed, Emblème will never be made available to another brand.

Can Emblème be tailored for my brand?
Yes. While Emblème comes as a complete identity system, it can be tailored to suit its new owner. This might include extending the icon set, refining emblems, configuring the colour system, or integrating your brand name into the typeface. Any adaptation is carefully considered to preserve the integrity of the original system while making it uniquely yours.

How do I use OC Emblème?
OC Emblème is delivered as a standard font file compatible with design tools and digital platforms. It allows you to access all brand elements—letterforms, motifs, icons, and emblems—directly from your keyboard or within design software. Variable font technology ensures seamless integration for animated interactions and motion graphics.

Will I need to trademark the elements?
Yes. Once you’ve selected your preferred emblems and other key elements, we recommend running them through a trademarking process to ensure legal protection. We’re happy to provide assistance to make this process smooth.

What if I love the typeface but don’t need the full branding system?
If you’re drawn to the letterforms of OC Emblème, the typeface is also available in a stripped-down version, OC Oly. This version is a modern sans serif, designed for general use and available with a standard license.

How is Emblème priced?
Emblème isn’t priced as a traditional font licence. Instead, we treat it as a custom branding project. The final scope depends on how much adaptation and implementation is required, so we usually begin by learning a little more about the organisation and how Emblème would be used before putting together a proposal.

Who is Emblème for?
OC Emblème is intended for organisations looking to launch or reposition a brand with a distinctive visual identity, without spending months developing a bespoke system from scratch. It is particularly suited to ambitious startups, technology companies, cultural organisations, and brands that value originality and exclusivity.

Because Emblème is licensed only once, every enquiry begins with a conversation to determine whether it’s the right fit.

Emblème is licensed exclusively to a single brand. It’s intended for organisations seeking an original, ready-to-license identity system, combining the exclusivity of a bespoke brand with the speed of a pre-developed solution. Once licensed, the system can be tailored to meet the unique needs of its new owner. If that sounds like your organisation, we’d love to hear from you.