Tokyo Olympic Games. Basing his work in part on iconography for the 1964 Games, Aicher created a set of pictograms meant to provide a visual interpretation of the sport they featured so that athletes and visitors to the Olympic village and stadium could find their way around. He created pictograms using a series of grid systems and a specific bright colour palette that he chose for these Games. These designs were directly influential on the DOT pictograms, developed in 1974 by the United States Department of Transportation, which applied the same principles to standard public signage such as those for toilets and telephones; the DOT pictograms have in turn been used around the world. The series of pictograms he created was not a simple task; the goal of each pictogram was to function as a clear sign of the activity it represented while simultaneously maintaining its universal comprehension. Otl Aicher also helped to design the logo of the Munich Olympics. He went through several stages with his design team before finally finding the successful emblem. One of their first ideas was to use an element of the city's coat of arms or Münchner Kindl within the design which showed a monk or child pointing into the distance while clasping a book in his hand. Other ideas were to use the surrounding areas of the city, referencing the sun, mountains and landscape within the design. Finally the "Strahlenkranz" was created, a garland which represented the sun but also the five Olympic rings merged in a spiral shape. Designer Coordt von Mannstein reworked Aicher's original design through a mathematical calculation to amalgamate the garland and spiral together to get the final design. The colours chosen for the designs of the games were selected to reflect the tones of the Alps. The mountains in blue and white would make up the palette of colours which also included green, orange and silver. The colours were used to identify allocated themes such as media, technical services, celebrity hospitality and public functions and each had a different colour so visitors could differentiate the themes around the stadium and village. Uniforms were colour-coordinated to represent these themes, the Olympic staff could be identified as working for a particular department by the colour they were wearing. Aicher used the typeface Univers for the Olympic designs. The design team produced 21 sports posters to advertise the sports at the