Eurovision Song Contest reveals logo and visual identity

Yesterday we could see not only the logo, but one full-bodied advancement ofvisual identity selected for the 2022 edition ofEurovision Song Contest to be held in Turin next May. The choices that governed the creation of the visual identity were shared through one video which gives us an excellent starting point for trying to better understand which path has been traveled.

At the moment, however, it is one previewwhich he does not yet understand all applications anticipated by the project. In fact, we’ll have to wait a few weeks to see all the material related to this issue released gradually, starting from the official website

Sound waves and symmetries

For what concern genuine logo The Eurovision song contest does not leave much room for the host country. Simply from year to year, the national flag is replaced inside the heart, which is in place of the letter “v” in the “Eurovision” logo.

Instead, what each nation can personalize is the visual identity, thereforethe whole graphics set to support the communication of the event.

What was presented yesterday, and which we have already been able to see “in action” in today’s live broadcast dedicated to the draws for the semifinals, is a concept which is expressed through graphic signs abstract, mostly animated. They are composed of overlapping thin lines that create symmetrical motifs around a circle where the logo and any other messages take place.

Eurovision logo geometric shapes

The movement of these lines is not random, but follows and evokes at the same time dynamica of sound. The inspiration actually comes from models of “cymatics”: it is in practice the study of phenomena associated with sound waves. It was scientist Hans Jenny to invent this term in the 1960s. He did it from kl experiments which led to the sound, such as those related toobservation of forms that the dust particles assume as a consequence of the vibrations produced by more notes. Thus he noted that vibrations of acoustic waves organize the particles according to the so-called figures of Chladni.

These abstract, modular and symmetrical shapes are very reminiscent decorative patterns of the “Italian gardens”. One of the special features of our cultural heritage, a symbol of the beauty of our country, which is thus recalled and honored within this visual identity project.

arsenic font and eurovision slogan

A font inspired by the early twentieth century

Also in choice of hair dryert that distinguishes this visual identity inspiration comes from oneItalian excellence in beauty and design. They’re actually me masters in advertising graphics of the early twentieth century, like Giorgio Muggiani and Marcello Dudovich, with their unforgettable posters, having influenced the choice of font.

Liquid is formed but from strong influencejust as in visual communication at the beginning of the last century, where it stimuli of art nouveau And by Art Decò. These are the properties of font selected for this project and which is called “Arsenic”: an all-Italian font, created by Francesco Canovaro for Zetafonts.

Only with font Arsenictherefore it is composed slogan “The sound of beauty” (perhaps the element of this project which, at least so far, has been received with greater confusion on social networks).

tickets eurovision logo and slogan

Also there palette want to reinforceidea with a strong national tone, therefore of “Italianness”. For this we find green and redhowever, in a lighter and fresher version than the colors of the flag, flanked by one warm orange reminiscent of the sun.


Safe it is not easy gathered in onevisual identity the need for a music competition, a show aimed at a European audience and to strengthen the distinctiveness of the host country.

We have seen so far only part of the applications in this project complex and articulated; we will definitely be able to get a better idea when we see it applied to all the communication channels that will be involved.

In the meantime Tell us what you think. Is there anything that strikes you in particular? Do you find this functional approach, or do you see some critical issues? What about retrotypography?

I await your feedback, meanwhile I continue to keep an eye on what’s going on in the world of graphic design to give you, as always, new ideas and stimuli. For now we say goodbye


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