Organizers of the 2028 Los Angeles Olympic and Paralympic Games unveiled the event’s official visual identity on Monday, a floral-themed design system meant to reflect the city’s landscape, neighborhoods and cultural character.

The branding will appear across competition venues, fan areas, citywide installations, signage, digital platforms and broadcast presentations during the Games, LA28 said.

At the center of the design is the “Superbloom,” a reference to the bursts of wildflowers that can blanket parts of Southern California after periods of rain.

LA28 said the concept was intended as a metaphor for the Games, with years of preparation culminating in a short, high-profile global event.

The core graphic is built around 13 individual blooms, which organizers said represent different elements of Los Angeles, from its entertainment culture to its neighborhoods, people and native landscape.

The color palette draws on the Bird of Paradise, the official flower of Los Angeles, and is grouped into four families – Poppy, Scarlet Flax, Bluebell and Sagebrush – to evoke the region’s terrain and vegetation.

Organizers said the typographic style was inspired by Los Angeles street signage, including strip mall and hand-painted storefront lettering, in an effort to give the identity a distinctly local feel.

LA28 said the design was developed to work across a wide range of settings, from nearly century-old venues to new facilities, while also accounting for broadcast requirements, digital formats and lighting conditions. The organizing committee partnered with design studio Koto on the project.

The identity was unveiled more than two years before the Olympic opening ceremony in what organizers described as an unusually early rollout, allowing partners and stakeholders more time to incorporate the branding into their materials.

Los Angeles will host the Olympics for a third time in 2028, after staging the Games in 1932 and 1984. It will also host the Paralympics for the first time.

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(Reporting by Rory Carroll; Editing by Peter Rutherford)