1996 Atlanta Summer Olympics

1996 Summer Olympics - Olympic Memorabilia

Winner Medals

1996 olympic winner medal 1 1996 olympic winner medal 2
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Medal Ribbon
1st Place: Gold Medal Material: Gilt Silver
    Weight 180 gr
2nd Place: Silver Medal Material: Silver
    Weight 175 gr
3rd Place: Bronze Medal Material: Bronze
    Weight 165 gr
Diameter: 70 mm Design by: Giuseppe Cassioli /
Malcom Grear Designers
    Mint: Reed and Barton
Thickness: 5,5 mm Ribbon: green with golden inscription
Obverse: Victory seated above stadium.
Reverse: Atlanta Games emblem and (different) sport pictogram.
Numbers of Medals: Gold:     633                  Silver:   635                      Bronze:   661

  Victory Medals 1996

Preparations for the design and production of cicory and commemorative medals began in April 1994. The designer of the 1996 pictograms was awarded the contract to refine the design for the victory medals and design the commemorative medals.

The obverse of the medals adopted the design used since the 1928 Amsterdam Games. The design depicts the goddess of victory, Nike, holding a bundle of palm leaves in her left arm. Her right hand holds a wreath of olive leaves above her head. Behind her stands the ancient Coliseum with a horse-drawn chariot. An amphora is also included in the design.

The reverse of the medal displays the 1996 Games logo and the sport pictograms signifying the event won by the athlete. Each medal was also engraved with the name of the event in which it was won, signifying the first time medals contained sport-specific designs.

(Source document:  Official Report 1996, vols. I, page 133)


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The winner medal and its case

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Thank you André for the images

Participation Medal

Olympic participation medal 1996 Olympic participation medal 1996
Material: Bronze Weight: 60 gr
Diameter: 60 mm Design by: Malcom Grear
Thickness: 3 mm Mint: Reed & Barton
Obverse: Official torch logo.
Reverse: Quilt of leaves.
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Presentation box
 Commemorative Medals 1996

Preparations for the design and production of victory and commemorative medals began in April 1994. The designer of the 1996 pictograms was awarded the contract to refine the design for the victory medals and design the commemorative medals.

The obverse of the commemorative medal displays the torch mark logo with the words "Games of the XXVI Olympiad." On the reverse, the Quilt of Leaves appears with the words "Centennial Olympic Games." In accordance with the Olympic Charter, both victory and commemorative medals were designed and produced by the same manufacturer.

The commemorative medals and diplomas were distributed to all accredited members of the Olympic Family through their respective contact at ACOG, e.g., the Media Relations division of ACOG Communications, AOB, and International Relations. ACOG staff and volunteers also received the diploma. All moulds of the victory and commemorative medals and sets of the first-to-eighth placed athletes' certificates and commemorative diplomas were given to the IOC, in accordance with the Olympic Charter. Samples of the medals were also kept for ACOG's Olympic archives.

(Source document:   Official Report 1996, Vol. 1, page 133)

Participation Diploma 1996 Atlanta


1996 olympic winner diploma
Size: 21,5 x 30,5 cm
Design by: ACOG design studio
Printed by: unknown
Signed by: IOC President Samaranch and 
Predident of Organising Committee, Billy Payne
Copies: 10.600

Commemorative diplomas were designed in the ACOG design studio and then printed in French and English. The commemorative medals and diplomas were distributed to all accredited members of the Olympic Family through their respective contact at ACOG,e.g., the Media Relations devision of ACOG Communications, AOB, and International Relations. ACOG staff and volunteers also received the diploma.  All moulds of the victory and commemorative medals and sets of the first-to-eighth placed athletes` certificates and commemorative diplomas were given to the IOC, in accordance with the Olympic Charter. 

(Source document:   Official Report 1996,   Vol. I, page 133 )



poster olympic games 1996 atlanta
Design by:    Primo Angeli

  Poster Program 1996

In coordination with ACOP, it was determined that ACOG posters would be well suited to production and distribution by a licensee. At that point, the only poster in print was the Centennial Games logo on a green background.

In 1994, ACOG contracted with Fine Art Limited, already an ACOP licensee for limited edition prints and small sculptures, to add posters to its contract. The agreement established that ACOG and Fine Art Limited work together to decide which artists would create the posters in the series.

Art Direction developed the ACOG Poster Program to embrace a variety of images and artists. One principal aspect of the effort to ensure diversity among athletes was ACOG's requirement that images of competing athletes be free from any specific country markings or national flags. All artists who participated in the Poster Program were given the same set of guidelines, which included permission for them to sign their artwork personally. The program included designer posters as well as fine art posters and limited edition prints. Limited edition prints were issued on a higher grade paper than posters, and their production involved a more elaborate color printing process. Each limited edition print was individually numbered and signed by the artist. Of the 63 posters in the program, 25 were available as limited edition prints. Each poster had a predetermined border that contained the Games logo and the phrase "Centennial Olympic Games" in English and French. The posters were divided into the following four categories.

Sports Series.
A poster for each of the Olympic sports was produced by renowned artist Hiro Yamagata. Each poster in the series included the sport name, the artist's name, and the dates of the Games. Each poster was 18 x 24 in (46 x 61 cm). Fourteen were made into limited edition prints, each an edition of 60 handprinted lithographs.

Designer Series.
These posters featured images created by graphic designers to capture some aspect of the Olympic Spirit. There were 13 posters of various sizes in this series. Among the subjects depicted in this series were IZZY, the torch mark logo, and the Atlanta skyline.

Look Team Series. 
Each of the six firms involved in the development of the Look was asked to design a poster. They were given broad freedom in selecting their content. The images they chose ranged from athletes to doves of peace to pictograms. All posters were 22 x 34 in (56 x 86 cm).

Artist Series. 
With the paintings created for these posters, artists used a more freestyle approach to portraying the Olympic Spirit. Eleven images comprised this series, with themes ranging from women in sports to the Olympic Village. Most were made available as limited edition prints. Among the artists whose work was represented in this series were Emma Amos, Patricia Cajiga, Michele Delacroix, Paul Goodnight, and James Rizzi.

As part of the agreement with the licensee, all fees to artists were paid by Fine Art Limited, which also assumed all production costs. Rights to the original paintings typically reverted to the artists, and ACOG received 100 copies of each poster and two of each limited edition.

Official Poster. As a Games tradition, one poster is selected by the IOC president as the official poster of the Games. Accordingly, IOC President Juan Antonio Samaranch selected a poster designed by Primo Angeli, one of the original Look designers, one week prior to the Games.

(Source document:   Official Report 1996, Vol. 1, page 140)

Other Posters

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Pictograms 1996

To many spectators, pictograms are a familiar form of Olympic imagery. First introduced at the 1948 Games in London, they became an integral facet of Olympic Games design at he Tokyo Games of 1964, serving an invaluable function as elegant and simple wayfinding devices. Abstract imagery had been most common in pictograms used at prior Olympic Games, but in the spirit of the 100th annivarsary of the modern Olympic Games, ACOG selected pictograms of the human form that captured the commonality between the grace of a posed athlete and the graceful, personal quality of the South.

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Canoe Kayak Slalom
Equestrian Sports
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Pentathlon moderne
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 Rythmic Gymnastics
Swimming Syncron

© 1997 by The Atlanta Committee for the Olympic Games

For the Atlanta Games, 84
pictograms were used—31 sports and 53 service
pictograms—as well as 7 zone code and 5 transportation
code symbols.

Prior to the Games, the sports pictograms were used extensively by licensees in Olympic Games merchandise and collectibles. Official use was restricted to documents and signage specific to individual sports and disciplines.

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Sports pictogramms were used extensively in the Look Program. To complement the sports pictograms and facilitate wayfinding, Creative Services also designed a series of service pictograms that were used extensively at Games-time.

(Source document:  Official Report 1996, vols. I, page 134)


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In late 1991, ACOG organized a design competition that included prospective mascot submissions from 20 designers and also reviewed suggestions gathered from the public as a result of a local newspaper promotion.

WHATIZIT - a computer-animated mascot created by a local design firm, DESIGNefx-was chosen as the most innovative concept because of its ability to change in appearance to represent different athletes and sports; hence its name, "What is it?" Selection of the mascot was announced in 1992. However, a major challenge was presented, as implementation of its computer image into printed images, costumes, and merchandise had not yet been fully developed at this time.

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Initial reaction to WHATIZIT was not favorable among adults, but children were attracted to it. Their overwhelmingly positive reaction to the mascot confirmed ACOG`s belief that its audience was youth.

ACOP Licensing began resarching the mascot`s appeal to children. As a result of studies from multiple focus groups, youth contests, and an animation studio, a number of adaptations were made to the mascot. For example, its name was changed to IZZY, and its appearance was altered to make it more adaptable to licensed products and animation.

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(Text from Official Report 1996, vols. I, page 130)

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Ticket Content and Design 1996

Ticket Sales was responsible for the production and distribution of tickets, but decisions on the printed content and security of tickets were made with the assistance of Protocol, Security, Transportation, and Venue Management.

ACOG's Creative Services Department designed all aesthetic elements of the tickets. Because printing on the tickets had to be large enough to be legible to customers, bus and train attendants, and ticket takers, they were printed only in English, the common language of the majority of spectators. Specific security measures involving paper, ink, and the printing process were also incorporated into the design. Three holograms commemorating the Centennial Olympic Games fulfilled both artistic and security requirements.

Each ticket was imprinted with the session's venue name, geographic location of the venue, sport name, a pictogram of the sport, the date and time the session would take place, a unique session code, and seating information. One challenge was to create a common way of describing gates or portals, aisles or sections, rows, and seats at the various venues. Tickets for the arts events included additional descriptions for balcony and orchestra sections. The final format allowed for four character fields with alterable title fields. For venues with fewer than four categories of seat specifications, the excess fields were suppressed during imprinting. Most tickets read "Gate, Section, Row, Seat."

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Other details imprinted on each ticket included the price in US dollars and the price level (A, B, C, or D), the session code, a bar code used for redistribution purposes, and the customer account number. Tickets complied with Rule 51 of the Olympic Charter prohibiting advertising. (The disclaimer on the reverse, which included all spectator rules, is shown in Figure 1.)

Ticket Sales produced distinctive, commemorative tickets for both Opening and Closing Ceremonies and souvenir tickets for all other sessions. For box office sales, thermal ticket stock incorporated design features similar to the souvenir stock. Ticket dimensions for the Opening and Closing Ceremonies were 3.75 x 8.5 in (9.53 x 21.6 cm), and souvenir ticket dimensions were 2.5 x 7.5 in (6.35 x 19.05 cm).
The thermal stock dimensions were 2 x 7 in (5.08 x 17.78 cm). Ceremonies tickets were designed differently than other stock because they commanded higher prices and were therefore more vulnerable to counterfeiting efforts.

All four ticket designs corresponded with the Look of the Games motif. Creative Services worked closely with the ticket printer, Weldon, Williams & Lick, to ensure that design ideas were feasible from a printing standpoint. For additional security, the agency was referred to generically as the ticket printer, rather than by its company name.

(Source document:  Official Report 1996, Vol. 1, page 464)

Numbers of visitors:     8.384.300

Identity Card



The Olympic Charter dictates that only those with an official role or function necessary to stage the Games are eligible for accreditation. Eligible persons are identified as Olympic Family and non-Olympic Family. The IOC's Accreditation Guide defines Olympic eligibility. Based on this guide, individuals are identified under a large number of different accreditation categories.

The Policy division determined and implemented access rights for all constituent groups. It also identified, registered, and processed all individuals requiring accreditation following approved policies and procedures. The Policy division was primarily concerned with three areas:
   -   Olympic Family Accreditation, which included coordinating the development, production,
       distribution, and management of OICs;
   -   Non-Olympic Family Accreditation, which planned and implemented accreditation for
       staff, volunteers, service contractors, and law enforcement personnel, and identified other
       constituent groups that might require accreditation; and
   -   Data Control, which ensured that the record of every person who might require accreditation
       was entered into the database and filed as a printed copy.

Additionally, the Policy division formulated regulations regarding zoning, the OIC, the Olympic accreditation badge, the radio-frequency (RF) badge, and the accreditation process.


In order to regulate and control circulation within Olympic venues, each competition venue was divided into public areas accessible to all, including ticketed spectators, and areas reserved for accredited persons only. The latter areas were divided into zones that were restricted to persons with a functional need to be present. Accreditation staff met with management and site designers for each venue to develop a logical zoning plan based on a generic set of zones of exclusion. The zones had the same generic definition at all competition venues.

                                   -  0  all zones
                                   -  1  field of play (competition areas)
                                   -  2  athlete preparation areas
                                   -  3  operations and administration areas
                                   -  4  media areas
                                   -  5  rights-holding broadcaster areas
                                   -  6  Olympic Family lounges
                                   -  7  accredited persons circulation areas

The Olympic Villages were divided into two zones: the international zone and the residential zone. Right to access the international zone was indicated by zone code V, and zone code R granted access to both the international and residential zones. Zoning principles were applied consistently to venue perimeters and interiors. The concept of accredited circulation or flow (zone 7) between restricted islands (zones 1-6) was broadly applied. Sport- and venue-specific considerations played an important role in developing zoning plans. Pictogram and zone signage was developed in conjunction with each scheme.

The Olympic Identity Card

The OIC authorized Olympic Family members to enter the US to perform their Olympic duties during the Games. The OIC contained the holder's Olympic ID number, a personal identifier used to access the holder's record in the accreditation database promptly.

In 1993, ACOG began to develop OIC policies and procedures in conjunction with US government representatives. Most matters were addressed by either the State Department or INS, but a number of other governmental services were also involved, including the US Department of Justice, Department of Labor, Federal Bureau of Investigation (FBI), Department of the Treasury, and the White House.

While over a dozen different visa classifications for Olympic Family members would normally be issued, after lengthy discussions, it was agreed that the OIC would replace all necessary visa classifications except for the A visa issued to foreign diplomats. In spring 1995, operating procedures for the OIC were finalized, and it was agreed that the applicants' passports would not need to be submitted. However, in order to maintain their physical integrity, each OIC had to be submitted to the appropriate US consular post for approval and application of a tamper-resistant Centennial Seal.

When designing the OIC, ACOG used the IOC Accreditation Guide, which contains baseline requirements for information displayed on the cards. In addition, ACOG worked closely with the Forensic Document Laboratory of the INS to develop specifications for the OIC that would safeguard against counterfeiting, alteration, and photo substitution.

Prior to the Games, Accreditation focused on educating and establishing communication with NOCs and other organizations regarding the NOC process. ACOG personnel met with government officials in Washington, DC, and at the busiest ports of entry to explain the OIC process and answer questions. ACOG and the State Department also produced a video explaining the OIC process that was delivered to all US ports of entry and consular posts. A communication network encompassing ACOG personnel, senior State Department and INS officials, and the Olympic coordinators at US consular posts worldwide was also established. As a result, the majority of issues were resolved within 48 hours. To address entry problems during Gamestime, an ACOG representative coordinated the international entry response team (IERT), comprised of field officers from government agencies and ACOG personnel. Operational 24 hours daily during June and July, the IERT resolved any issues that arose during the Games period, particularly at ports of entry.

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Numerous categories of accreditation badges were produced to identify people representing the various constituencies involved in staging the Games and allow them the access necessary to perform their role or function.


Olympic Accreditation Badge

The final goal of the accreditation process was delivering to authorized individuals accreditation badges that identified them and visually displayed their specific access rights and privileges. A basic principle of Olympic accreditation is that each eligible participant may be issued only one badge. Dual or multiple applications must be individually analyzed and consolidated, where appropriate.

The accreditation category and the badge holder's name, photograph, function, and organization appeared on the accreditation badge. Access rights were represented by pictograms indicating sports, competition venues, and noncompetition venues where access control was enforced, and symbols for zone codes and transportation privileges. For the Atlanta Games, 84 pictograms were used-31 sports and 53 service pictograms-as well as 7 zone code and 5 transportation code symbols. Inside venues, an accredited person's ability to circulate within and access restricted areas was determined by numerical codes for zones as noted earlier.

A transportation code was displayed next to the zone code on each badge. The codes were as follows.
   -    T1 gave the bearer access to a private dedicated car and driver.
   -    T2 gave the bearer access to a shared dedicated car and driver.
   -    T3 provided access to the ACOG motor pool.
   -    T4 provided access to an ACOG-organized bus system, such as the athlete or media
   -    T5 provided access to public transportation systems through a MARTA pass issued to
        all zone 7-accredited members during accreditation processing.

(Source Document:  Official Report 1996, Vol I,  page 54 - 55  ) 
Read more:   Official Report 1996,  Vol. I, page 50 - 64



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