“L’Eurovisione sta cambiando”, disse a Riga Sarah Yuen, l’ex sovrintendente all’ESC. Il risultato di questa affermazione si ritrovò nella nuova strategia di marketing creata per pubblicizzare l’Eurovision Song Contest e, in primo luogo, nella creazione di un nuovo logo che potesse identificare la manifestazione musicale più importante d’Europa.
Eurovision logo and theme: Until 2004 each edition of the contest used its own logo and visual identity as determined by the respective host broadcaster. To create a consistent visual identity a generic logo was introduced ahead of the 2004 contest. This is typically accompanied by unique theme artwork and a slogan designed for each individual contest by the host broadcaster, with the flag of the host country placed prominently in the centre of the Eurovision heart. The original logo was designed by the London-based agency JM International, and received a revamp in 2014 by Cornelis Jacobs of the Amsterdam-based Cityzen Agency for the contest’s 60th edition.
An individual slogan and theme has been associated with most editions of the contest since 2002 and utilised by contest producers when constructing the show’s visual identity, including the stage design, the opening and interval acts, and the “postcards”. The short video postcards are interspersed between the entries and were first introduced in 1970, initially as an attempt to “bulk up” the contest after a number of countries decided not to compete, but has since become a regular part of the show and usually highlight the host country and introduce the competing acts..
Slogan (Theme artwork): Beginning with the 2002 contest, a slogan has been associated with each contest (except in 2009). The slogan is decided by the host broadcaster and is then used to develop a visual design for the conte slogan was also selected for the 2020 contest before its cancellation.st. A
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.
Logos and Artwork: 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
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@example.com. 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.
Typography. 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.
Theme artwork. 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.
A partire dall’Eurovision Song Contest 2002 ogni edizione del concorso canoro, ad eccezione del 2009, ha adottato uno slogan, deciso dall’emittente:
|Edizione||Città e Paese ospitante||Slogan||Traduzione|
|2002||Tallinn, Estonia||A Modern Fairytale||Una Favola Moderna|
|2003||Riga, Lettonia||A Magical Rendez-vous||Magico Appuntamento|
|2004||Istanbul, Turchia||Under The Same Sky||Sotto Lo Stesso Cielo|
|2006||Atene, Grecia||Feel The Rhythm!||Senti Il Ritmo!|
|2007||Helsinki, Finlandia||True Fantasy||Pura Fantasia|
|2008||Belgrado, Serbia||Confluence of Sound||Confluenza del Suono|
Slogan non utilizzato
|2010||Oslo, Norvegia||Share The Moment!||Condividi Il Momento!|
|2011||Düsseldorf, Germania||Feel Your Heart Beat!||Senti Il Tuo Cuore Battere!|
|2012||Baku, Azerbaigian||Light Your Fire!||Accendi il tuo fuoco!|
|2013||Malmö, Svezia||We Are One||Siamo Uno Solo|
|2015||Vienna, Austria||Building Bridges||Costruendo Ponti|
|2016||Stoccolma, Svezia||Come Together||Venite Insieme|
|2017||Kiev, Ucraina||Celebrate Diversity||Celebra la Diversità|
|2018||Lisbona, Portogallo||All Aboard!||Tutti a Bordo!|
|2019||Tel Aviv, Israele||Dare To Dream||Osa Sognare|
|2021||Rotterdam, Paesi Bassi||Open Up||
Ogni anno, il paese ospitante del concorso progettava un logo dedicato al concorso che stava organizzando. Semplice fino agli anni ’90 e più creativo nei primi anni 2000, la rivelazione del logo del concorso era un momento speciale ogni anno, particolarmente per gli eurofans. Nel 2004, il lancio del logo fu speciale. L’EBU-UER decise che il concorso aveva bisogno di un logo riconoscibile, ricorrente ogni anno. Ciò significava che, d’ora in poi, il marchio del concorso non sarebbe stato cambiato di anno in anno. Soltanto alcuni particolari secondari sarebbero stati modificati.
Il cuore: Il 24 Gennaio 2004 il logo fu presentato durante la finale nazionale turca, trasmessa dalla TRT. L’edizione di quell’anno dell’Eurovision Song Contest, ospitato dalla Turchia, fu la prima ad utilizzare il nuovo logo ufficiale.
Nel 2003, l’agenzia T.E.A.M (Svizzera) fu nominata dall’EBU-UER per occuparsi del marketing dell’ESC. La loro esperienza con il marketing della Lega dei Campioni e della Coppa UEFA furono importanti per l’EBU-UER, poiché cercarono un’azienda abbastanza esperta per poter svolgere questo lavoro. Sviluppare un logo forte faceva parte del programma di marketing.
Il nucleo del nuovo logo è la parola Eurovision con un cuore al posto della “V”, che “rappresenta l’emozione dell’evento”; questo è il logo generico. Il cuore è l’elemento che cambia nel logo, il che significa che, ogni anno, il cuore vestirà i colori della bandiera del paese ospitante. Se il concorso dovesse tenersi in Italia per esempio, il cuore vestirebbe la bandiera italiana e così via (le cosiddette applicazioni visive). Ci sono inoltre disegni in bianco e nero del logo (senza bandiera nel cuore).
Sotto la parola “Eurovision” potete naturalmente trovare le parole “Song Contest”. Per porre in evidenza un anno particolare, la linea seguente indica la città ospitante e l’anno. C’è inoltre una versione del logo dove il cuore è disposto sopra la parola Eurovision (il cosiddetto logo evento).
Nel 2001, la TV danese DR decise di usare un cuore come elemento del logo. Il cuore 2001 era formato da quattro anelli, che insieme generavano il profilo di un cuore. La descrizione del logo fu abbastanza simile alla descrizione del nuovo logo, ma è chiaro che il quest’ultimo ha uno stile del tutto differente.
La prima impressione data dal nuovo logo dovrebbe essere semplice. I direttori ed i progettisti del marketing hanno discusso se il logo dovesse essere semplice oppure no. Alcuni dicono che un logo semplice è molto più facile da riconoscere, mentre altri pensano che un logo semplice potrebbe dare un’impressione poco costosa.
Ogni anno, comunque, il paese ospitante crea un tema che di solito è accompagnato ed espresso con un sub-logo e da uno slogan. Il tema e lo slogan sono annunciati dall’EBU-UER e dall’emittente nazionale del paese ospitante.
The slogan Open Up from 2020 will be re-used for the Eurovision Song Contest 2021. The new logo is inspired by the world map with Rotterdam as the beating heart of Europe in May 2021. “The logo connects Rotterdam with the capitals of the participating countries and symbolises coming together, regardless of the form,” says Sietse Bakker, the Executive Producer of the event.
As in 2020, the logo and concept are developed by agency Clever ° Franke which generated the logo using software developed in-house. MediaMonks and NEP joined the design team and added a new system that makes the artwork usable on every platform and that can be seen everywhere, such as on TV shows, bus stops, merchandise and online.
Eurovision Week: The term “Eurovision Week” is used to refer to the week during which the Contest takes place. As it is a live show, the Eurovision Song Contest requires the performers to have perfected their acts in rehearsals for the programme to run smoothly. In addition to rehearsals in their home countries, every participant is given the opportunity to rehearse on the stage in the Eurovision auditorium. These rehearsals are held during the course of several days before the Saturday show, and consequently the delegations arrive in the host city many days before the event. Journalists and fans are also present during the preceding days, and so the events of Eurovision last a lot longer than a few hours of television. A number of officially accredited hotels are selected for the delegations to stay in, and shuttle-bus services are used to transport the performers and accompanying people to and from the contest venue.
Each participating broadcaster nominates a Head of Delegation, whose job it is to co-ordinate the movements of the delegate members, and who acts as that country’s representative to the EBU in the host city. Members of the delegations include performers, lyricists, composers, official press officers and—in the years where songs were performed with a live orchestra—a conductor. Also present if desired is a commentator: each broadcaster may supply their own commentary for their TV and/or radio feed, to be broadcast in each country. The commentators are given dedicated commentary booths situated around the back of the arena behind the audience.
Rehearsals and press conferences: Since 2004, the first rehearsals have commenced on the Sunday almost two weeks before the Grand Final. There are two rehearsal periods for each country. The countries taking part in the semi-finals have their first rehearsal over four days from the first Sunday to Wednesday. The second is from Thursday to Sunday. The countries which have already directly qualified for the Grand Final rehearse on the Saturday and Sunday.
After each country has rehearsed, the delegation meets with the show’s production team in the viewing room. Here, they watch the footage of the rehearsal just performed. At this point the Delegation may make known any special requirements or changes needed for the performance, and request them to the host broadcaster. Following this meeting, the delegation hold a press conference where members of the accredited press may pose them questions. The rehearsals and press conferences are held in parallel; so one country holds its press conference, while the next one is in the auditorium rehearsing. A printed summary of the questions and answers which emerge from the press conferences is produced by the host press office, and distributed to journalists’ pigeon-holes. However, for the 2020 contest in Rotterdam, pigeon holes will not be used, in an effort to modernise the exchange of information.
Before each of the semi-finals three dress rehearsals are held. Two rehearsals are held the day before (one in the afternoon and the other in the evening), while the third is held on the afternoon of the live event. Since tickets to the live shows are often scarce, tickets are also sold so the public may attend these dress rehearsals.
The same applies for the final, with two rehearsals on the Friday and the third on Saturday afternoon before the live transmission of the grand final on Saturday evening. For both semi-finals and for the final, the second dress rehearsal is also the Jury Final, this is where the jury from each country casts their votes. This means that 50% of the result is already decided before the live contests have taken place.
Parties and Euroclub: On the Monday evening of Eurovision Week, a Mayor’s Reception is traditionally held, where the city administration hosts a celebration that Eurovision has come to their city. This is usually held in a grand municipally owned location in the city centre. All delegations are invited, and the party is usually accompanied by live music, complimentary food and drink and—in recent years—fireworks.
After the semi-final and grand final there are after-show parties, held either in a facility in the venue complex or in another suitable location within the city.
A Euroclub is held every night of the week: this is a Eurovision-themed nightclub, to which all accredited personnel are invited.
During the week many delegations have traditionally hosted their own parties in addition to the officially sponsored ones. However, in the new millennium the trend has been for the national delegations to centralise their activity and hold their celebrations in the Euroclub.