Mark Hudson of The Telegraph says that “overall, there are more hits than misses” among the posters by twelve leading British artists. He points to Fiona Banner’s work as the standout example, claiming its typographic combination of evocative phrases “feels appropriate to these challenging times.”
The Guardian‘s Jonathan Glancey also praises Banner’s design, describing it as “the most introspective, serious and moving of all these posters,” while questioning whether some of the designs are “aimed at art fans or athletics fans.” Patrick Burgoyne of UK visual communication magazine Creative Review reports that members of the graphic design community were disappointed not to be given the chance to participate in the design process but is unconvinced that the results would have been much better given such an open brief. The BBC‘s arts editor Will Gompertz says that the abstract nature of the posters means they lack context, adding “with this collection, you wouldn’t know where the games are being held. Maybe that in itself is a statement.”
Since their release the posters have received much more negative press and than positive. This doesn't bode well on top of widespread disappointment over the logo, typeface and mascots, followed by the dreary ticketing advertising campaign. Instead of providing a vehicle to celebrate Britain's creative industries, there is a very real danger that the 2012 Games will forever be remembered by the visual communications community as a missed opportunity of truly Olympian proportions.
To read more or to see opinions and comments about the posters visit Dezeen or Creative Review.
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