The generic Eurovision logo was originally designed by the London-based agency JM Enternational in 2004 and was updated in 2015 by Storytegic.
Every year, the Host Broadcaster produces a custom broadcast graphics package for the contest.
Official Logos for download
For more information on the Turin 2022 theme ('The Sound of Beauty') please visit this page.
Rules for use of the logo and theme artwork
The Eurovision Song Contest logo and theme artwork can be used by the EBU, its Member broadcasters and official partners of the event.
Media can use the logo, but only in an editorial context. Any other usage of the logo, commercial or non-commercial, is strictly prohibited without explicit written permission from the European Broadcasting Union.
Application of the logo and theme artwork should be in line with the brand guidelines on this page.
Obtaining usage permission
To seek permission to use the Eurovision Song Contest logo and theme artwork, please send your request to [email protected] Please describe the intended usage as clearly as possible. Most requests are being processed within 10 working days.
The logo may only be used in black or in white on a sufficiently dark background;
Always provide sufficient empty space around the logo;
Do not morph or distort the logo;
Do not make the logo too small;
Do not use the ‘Eurovision’ word mark without the ‘Song Contest’ component;
Do not create other words or additions to the ‘Eurovision’ word mark;
Do not add flags in the heart other than the official national flags of the participating countries.
The ‘Eurovision’ word mark is a custom-made font. No other characters other than those in the word ‘Eurovision’ are available.
The ‘Song Contest’ line is set in Gotham Bold, the line mentioning the Host City and event year is set in Gotham Book, both with a 30% character spacing. Both were designed by the American type designer Tobias Frere-Jones in 2000. A license can be purchased via Hoefler & Co.
The body type is set in Proxima Nova, designed by Mark Simonson in 2005. It was originally released in 1994 as Proxima Sans and amended for digital applications. A license can be purchased via Typekit.
Instead of Proxima Nova, Rubik may be used, which is freely available on Google Fonts. Instead of Gotham Bold, but only for headings in digital and print applications, Montserrat may be used, which is freely available on Google Fonts.
Every year, the Host Broadcaster of the Eurovision Song Contest gets the opportunity to design complementary artwork to the official event logo, including a visual symbol, a theme slogan and other visual elements that strengthen the message of the event.
Tallinn 2002: A Modern Fairytale
Riga 2003: A Magical Rendez-vous
Istanbul 2004: Under the Same Sky
Kyiv 2005: Awakening
Athens 2006: Feel the Rhythm
Helsinki: 2007: True Fantasy
Belgrade: 2008: Confluence of Sound
Moscow: 2009: No slogan
Oslo 2010: Share the Moment
Düsseldorf 2011: Feel Your Heart Beat
Baku 2012: Light Your Fire
Malmö 2013: We Are One
Copenhagen 2014: #JoinUs
Vienna 2015: Building Bridges
Stockholm 2016: Come Together
Kyiv 2017: Celebrate Diversity
Lisbon 2018: All Aboard!
Tel Aviv 2019: Dare to Dream
Rotterdam 2020: Open Up
Rotterdam 2021: Open Up
Turin: The Sound of Beauty
2022: The Sound of Beauty
Turin’s theme is a visual representation of The Sound of Beauty. In order to represent sound and its visual (and beautiful) properties, the design is based on the symmetrical structure and patterns of cymatics – the study of sound wave phenomena.
The term ‘cymatic’ was coined in the 1960s by Hans Jenny, a Swiss scientist and philosopher, derived from the ancient Greek word κῦμα (kyma), which means 'wave’. His experiments showed that if fine powders were placed on a sheet of metal and acoustic wave vibrations were applied to them, these particles were organised into specific patterns.
These patterns, also known as Chladni figures, configure, in the case of harmonic sounds, into symmetrical geometric shapes and compositions, similar to mandala configurations.
The Italian Garden (o ‘Giardini all’Italiana’) was one of the main inspirations for the set design (more on that later…), and it was noticeable that these gardens have a structure similarly present in cymatics. Both are based on symmetry, axial geometry and seem to indicate the principle of an idea of order over nature.
The cymatics in the theme-art visually hint towards both the sun and a cosmic portal that can be opened on the idea of the sound of beauty.
Arsenica is a serif typeface designed by Francesco Canovaro for Zetafonts, and developed by a design team including Mario De Libero, Andrea Tartarelli and Cosimo Lorenzo Pancini.
The design of Arsenica takes its inspiration from Italian poster design at the beginning of the 20th century, a time when typography, lettering and illustration were closely interwoven, pushing on traditional old style letterforms often imbued with Art Nouveau and Deco sensibilities.
Artists like Giorgio Muggiani and Marcello Dudovich illustrated posters for Cinzano, Pirelli, and Rinascente, and provided typographical design for newspapers.
The use of typography is key to further defining the Italian identity of this year’s theme. Poster design and branding are central to the history of Italian design and through typography consolidate the overall Italian look and feel of the event.
The theme art and associated designs will be rolled out in advance of the Contest.